Introducing Puppetry

Puppets can be classified in many ways: by the country of their origin; whether they are worked from above, below or from the side; or whether they are flat or solid. The puppets which have been most familiar in European countries in the past are glove puppets worked from below and marionettes worked from above. For this reason I have given more space to these two types than to others, but this does not mean that other puppets have less interest or scope according to their own nature. Also the techniques of construction described for glove puppets and marionettes can be widely applied. When choosing the type of puppet with which you wish to work, you should first consider the nature and scope of each type of puppet, and the difficulties that may be met in construction and performance. 1 The flat cut out figures of the traditional Victorian Children's Theatre cannot, strictly speaking, be called puppets. I have included them because in a modern form they are a good introduction for very young children to the theatre itself, and to more advanced puppetry. 2 Shadow puppets are very quickly made, and many performers can be employed together if a wide screen is used, and in a performance involving spectacle and procession. The nature of the shadow puppet gives good opportunity for visual design. 3 Rod puppets may vary from a simple mechanism to a complicated one, but may be combined in the same production to suit the ability of individual performers. Rod puppets are particularly suitable for extra movements of head, eyes and mouth, combined with a spoken part. 4 Glove puppets provide a very close link between performer and puppet, and are more suitable for lively action and strong characterization than for visual design. Any type of puppet may be used as a Persona or mask through which the performer feels safe to reveal himself. Glove puppets are most readily used in psychiatric work involving projection techniques, particularly in connection with children.