Puppetry Notes
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05/Sep/10
Puppetry in SchoolJo Bryant – Pottytree Puppets
The Magic of Puppets
Puppetry has been with us for over a thousand years. Ancient relics found across Egypt, China, Indonesia, Turkey and Britain give proof that this art form is as old as recorded history. Puppetry’s creative potential has been used to tell stories throughout the cultures and countries of our world. Alongside drama, story-telling, music and dance, it is an artistic way for expression, communication and education.Puppetry comes in many forms – from Asian shadow puppets to Jim Henson’s Muppets. But what can be found at the heart of all puppetry are creativity, imagination and often improvisation.
The special quality of puppets is the fact that you move them and they move you. A puppet can be made out of any material and can be any size. The puppeteer may provide a face, eyes, perhaps a mouth and a body. Then create a voice and character movements and instantly we are caught up in its world. Instead of just focusing on the puppet’s construction and operation, we see a character to laugh at, empathise with or dislike. We encounter someone who has the capacity to move us immensely.
Puppets entertain us. They draw us in and once we have lost ourselves in the world they create, we often accept the message without even realising that we are learning one. Puppets can be used as a tool for exploring all types of sensitive subjects without causing too much offence or embarrassment. They give us a safe environment in which to engage a person’s emotions without fear. They can create a pressure-free space to voice feelings and situations that we can identify with.
In particular, children and young people see puppets as a very natural art form. Some people believe that an audience should only ever see a puppet in action, but we must remember that from an early age, children bring all sorts of objects to life. They easily accept the magical and seamless shift from the inert to the animated. Toys and house-hold objects are made to talk, to try on personalities and move in ways that express emotion. Even as adults, we can find ourselves giving objects anthropomorphic characteristics - e.g. how often have you found yourself talking to your car as if it has a persona?
A puppet can be a friend without demanding something in return. It can be funny, naughty or can get into trouble without hurting anybody. It can say what we are thinking or feeling and show the benefit of cooperation and support. Finally, a puppet can portray a level of non-verbal communication which reaches across all types of audiences and participants, and as importantly, all ages.
In the infant or primary school, puppets can be incorporated into circle-time activities. Maybe your puppet is expressing feelings reflected in the group or is having trouble understanding issues such as why we need classroom rules. Also, children can use the puppet to express their feelings by taking turns to hold the puppet and listen to what it has to say. Often a quiet student will feel brave enough to interpret and share what the puppet ‘whispers’ in their ear. Try and ensure that the puppet is respected by the children. Violence towards the puppet should not be encouraged and can be quite upsetting for the other children.
A puppet can be used to check and consolidate learning. An individual can explain what they have been learning about to the puppet - e.g. “Charlie says he’s been listening from the cupboard and he doesn’t really understand that bit about metaphors. Can anyone explain what they are to Charlie?” Children will delight in explaining things and correcting the puppet’s mistakes.
The children in your class may want to use puppets to retell a story or event you are discussing - e.g. if you are fine about a level of constructive anarchy, a small group of puppets ‘invading’ your classroom by moving things around, taking over and being cheeky to the other children can be an effective way of learning about Invaders and Settlers. Puppets can also make assembly presentations great fun for all involved.
In the secondary school, puppets are fantastic for exploring character. By talking and moving through a puppet, the puppeteer automatically changes perspective and has to mentally ‘step into the shoes’ of another personality. The students can devise a history for the puppet which will in turn provoke a style of movement, voice and dramatic form - e.g. students can create meaningful monologues and talking-head style performances by using the safety net of a puppet moving in front of them.
The puppet can be used as a stimulus for atmosphere and tension in the performance. This can be in both scripted and improvised drama. Puppetry can encourage the group to communicate with each other in innovative and challenging ways - e.g. the use of simple hand puppets to play the fairies and artisans in ‘A Midsummer Night’s Dream’ by Shakespeare.
Puppetry can engage younger audiences if you are considering a secondary/primary link project - e.g. showing year six students what they are to expect when they come to secondary school through simple comedy puppet scenarios would definitely leave a lasting impression.
Of course practical experience of puppetry forms throughout history would give the students knowledge and understanding of these highly regarded dramatic forms - e.g. Ancient Chinese comedy shadow puppetry or British 16-century satirical street puppet shows.
Puppet Manipulation
There is more to creating a life-like, believable character than just the movement of the puppet. If you ignore simple acting basics and neglect character development, your audience may not fully engage in your performance. You need to connect emotionally with what your puppet is doing or saying. A good way of doing this is to get to know the character. Create a back story and remember that every puppet has its own personality. Will yours be silly, happy, sad, curious or a mix of these? What is its name? Where does it come from? What does it like to eat? The children or young people you work with will show much delight in being involved in this creative process. All this information will help to solidify its character. The best way to build something fantastical is to first believe your puppet is real. By doing this, it will react to any situation like a real person or animal would.
The most important thing to remember about working a puppet is, if you believe it can be real, everyone else will suspend their disbelief. All other skills work brilliantly if you apply this first. Feel comfortable with working your puppet. Relax and enjoy!
You can develop timing and a voice for your puppet. Each puppet’s character is individual and this needs to be expressed. You can use characteristics that express particular feelings:
An important part of puppetry is exaggeration. Make all expressions bigger than they would be in real life for the best results. Puppets easily step into the realms of fantasy and audiences are more than happy to suspend disbelief and ignore how the puppet’s movements are dictated.
The Entrance and Exit
Introducing a puppet or puppet show is when the magic begins and there is no harm in milking the opportunity. Talking to the puppet while it is still in a box or hidden away (maybe on a high shelf in the primary classroom) will increase levels of anticipation. The puppet can then peep at the audience or flamboyantly throw themselves into position – you can see why character plays such an important role! You could put a colourful cloth over it and ask it if it wants to meet your friends. When it shakes its head to begin with and then looks startled when you take the cloth off, your audience will be engaged from the start. If you are using a puppet to discuss issues within the classroom, it is a lovely idea to have a special place for it where the teacher is responsible for determining when it is used. You can turn your body away from the children as you prepare the entrance.
Puppets can also be used in a booth or behind a screen of sorts. There are four main ways of moving in and out of play:
On a larger stage, the use of lighting is extremely effective. Puppeteers can be dressed in dark clothing and the puppets revealed through the use of spotlights. Often the audience enjoys watching the puppeteer as part of the performance. Alternatively, the puppets can be large enough to hide the puppeteer or, with shadow puppets, rods can be long enough to keep the puppeteer away from the action.
Puppets like to end their performances with style too. In some cases it works well to show how the puppeteer has put the puppet together (e.g. if older students have created a puppet show for younger school children). Sometimes a puppet just likes to bow and blow kisses, shake hands or wave goodbye.
Important Points to Remember
Puppets help to engage a child’s or young person’s emotions. They offer a pressure-free space for the voice of the individual or group. This is especially true for those wanting to discuss difficulties, as people often become more vocal when there is a puppet around. If the puppet is being used for discussion, make sure it listens as well as asks questions. Let it discuss its own feelings alongside the child’s. Try to give the children or young people you are working with, ownership over whatever fantasy or situation is established. Remember that a puppet is an extremely powerful medium. Please refrain from using it to blame or accuse a child or person unless it is in context. Think carefully about the content of your puppet work or performance. What is your aim? Try and keep the puppet sessions fresh and exciting by introducing new themes and ways of manipulating the puppet. Remember that puppets are fun.
Puppet Making
The Sock PuppetA sock puppet can turn into all sorts of people and animal puppets so let your imagination take you away and add arms, fangs, scales, hair styles, fins etc…
The Material Puppet
The Foam Puppet