A puppeteer is a person who manipulates an inanimate object called a puppet to create the illusion that the puppet is alive. The puppet is often shaped like a human, animal, or legendary creature. The puppeteer may be visible to or hidden from the audience.
Puppetry is a form of theatre or performance that involves the manipulation of puppets – inanimate objects, often resembling some type of human or animal figure, that are animated or manipulated by a human called a puppeteer. Such a performance is also known as a puppet production. The script for a puppet production is called a puppet play. Puppeteers use movements from hands and arms to control devices such as rods or strings to move the body, head, limbs, and in some cases the mouth and eyes of the puppet. The puppeteer sometimes speaks in the voice of the character of the puppet, while at other times they perform to a recorded soundtrack.
A marionette is a puppet controlled from above using wires or strings depending on regional variations. A marionette's puppeteer is called a marionettist. Marionettes are operated with the puppeteer hidden or revealed to an audience by using a vertical or horizontal control bar in different forms of theatres or entertainment venues. They have also been used in films and on television. The attachment of the strings varies according to its character or purpose.
Shadow play, also known as shadow puppetry, is an ancient form of storytelling and entertainment which uses flat articulated cut-out figures which are held between a source of light and a translucent screen or scrim. The cut-out shapes of the puppets sometimes include translucent color or other types of detailing. Various effects can be achieved by moving both the puppets and the light source. A talented puppeteer can make the figures appear to walk, dance, fight, nod and laugh.
A hand puppet is a type of puppet that is controlled by the hands that occupies the interior of the puppet. A glove puppet is a variation of hand puppets. Rod puppets require one of the puppeteer's hands inside the puppet glove holding a rod which controls the head, and the puppet's body then hangs over most or all of the forearm of the puppeteer, and possibly extends further. Other parts of the puppet may be controlled by different means, e.g., by rods operated by the puppeteer's free hand, or strings or levers pulled the head or body. A smaller variety, simple hand puppets often have no significant manipulable parts at all. Finger puppets are not hand puppets as they are used only on a finger.
The dhalang or dalang is the puppeteer in an Indonesian wayang performance.
Dadi Pudumjee is a leading puppeteer in India and he is the founder of The Ishara Puppet Theatre Trust. He was awarded the Sangeet Natak Akademi Award in 1992.
Kathputli is a string puppet theatre, native to Rajasthan, India, and is the most popular form of Indian puppetry. Being a string marionette, it is controlled by a single string that passes it from the top of the puppet over the puppeteers.
Tholu bommalata is the shadow puppet theatre tradition of the state of Andhra Pradesh in India with roots dating back to 3rd century BCE. Its performers are part of a group of wandering entertainers and peddlers who pass through villages during the course of a year and offer to sing ballads, tell fortunes, sell amulets, perform acrobatics, charm snakes, weave fishnets, tattoo local people and mend pots. Tholu bommalata has a history of consistent royal patronage. It is the ancestor of Wayang, the Indonesian puppet theatre play which has been a staple of Indonesian tourism and designated by UNESCO as Intangible Cultural Heritage of Humanity.
Togalu gombeyaata is a puppet show unique to the state of Karnataka, India. Togalu gombeyaata translates to "a play of leather dolls" in the native language of Kannada. It is a form of shadow puppetry. Karnataka Chitrakala Parishat has undertaken research on this art and has a good collection of leather puppets.
Mirsolav Trejtnar is a master puppeteer and teacher of puppetry.
Dance forms of Tamil Nadu elaborates the various dance forms originated and practiced in the Tamil Nadu, the southernmost state of the India. Tamil Nadu is the home of the Tamil people, who speak Tamil language, one of the oldest surviving languages with archaeological evidence pointing to the Tamilakam region being inhabited for more than 400 millennia and more than 5,500 years of continuous cultural history. Hence, culture have seen multiple influences over the years and have developed diversely. With its diverse culture, many forms of individual and group dances have their origins in the region and are practiced.
A puppet is an object, often resembling a human, animal or mythical figure, that is animated or manipulated by a person called a puppeteer. Puppetry is an ancient form of theatre which dates back to the 5th century BC in Ancient Greece.
Tholpavakoothu is a form of shadow puppetry that is practiced in Kerala and Tamil Nadu, India. It is performed using leather puppets and is performed in temples or in villages in specially built theatres. This form of art is especially popular in the Madurai and nearby districts of Madurai in Tamil Nadu and also in Palakkad, Thrissur and Malappuram districts of Kerala.
Rabana Chhaya is a form of shadow puppetry from the eastern Indian state of Odisha.
Sakhi kandhei is a string puppetry show popular in the Indian state of Odisha, especially in the Kendrapara district of Odisha. This form of art is still performed by local artists in and around Palakana, a small village in Kendrapara. Puppeteers generally form groups and travel from village to village for performing shows. Wooden dolls are tied to strings which are controlled by pulling and releasing the strings. Different expression by pulling the strings narrate tales from the Puranas and modern social life. A group of artists perform music and give background voice for the narration of stories.
Anurupa Roy is an Indian puppeteer, puppet designer and director of puppet theater. Roy views puppetry as not "manipulating dolls with strings" but an amalgam of plastic and performing arts where sculptures, masks, figures, materials, found objects and narratives come together with music, movement, physicality and theater to create the theater where humans and puppets are co actors. She started at her group Katkatha in 1998 which was registered as the Katkatha Puppet Arts Trust 2006. She has directed over 15 shows for children and adults ranging from the Ramayana and Mahabharata to Shakespearean comedy to the Humayun-nama. The puppets used by the group range from three inches to forty feet in size. The shows have toured across Europe, Japan and South Asia. A major aspect of her work is using puppets for psychosocial interventions in conflict areas like Kashmir, Sri Lanka and Manipur to Juvenile Remand homes. She has worked with youth and women across the country using puppets to raise awareness about HIV/AIDS and gender issues. She is a recipient of the Ustad Bismillah Khan Yuva Puraskar ine Puppetry (2006). She has been a visiting faculty at the University of California Los Angeles an Artists in Residence at Pro Helvetia Swiss Arts Council.
Suresh Dutta is an Indian puppet artist, theatre personality and the founder of Calcutta Puppet Theatre, a Kolkata-based theatre group dedicated to puppetry. Born in Faridpur, in the undivided Bengal of the British India, he trained art under Phani Bhushan, a Jatra exponent, and Kathakali under Balakrishna Menon. He has also learnt fusion style of danceform from maestro Uday Shankar. He also learnt Bharatanatyam and Manipuri before moving to Russia, under a scholarship in 1962, to train in puppetry under the Russian puppeteer, Sergey Obraztsov.
Nina Simonovich-Efimova was a Russian artist, puppet designer and one of the first professional Russian puppeteers. Together with her husband Ivan Efimov she founded the tradition of Soviet puppet theater, acting as the driving force behind the Efimovs' presentations.
Russian puppet theater appears to have originated either in migrations from the Byzantine Empire in the sixth century or possibly by Mongols travelling from China. Itinerant Slavic minstrels were presenting puppet shows in western Russia by the thirteenth century, arriving in Moscow in the mid-sixteenth century. Although Russian traditions were increasingly influenced by puppeteers from western Europe in the eighteenth century, Petrushka continued to be one of the principal figures. In addition to glove puppets and marionettes, rod puppets and flat puppets were introduced for a time but disappeared in the late nineteenth century.
