Bread and Puppet Theater

Last updated
Bread and Puppet Theater
Formation1962–1963
TypeTheatre group
PurposePolitical puppetry
Location
Artistic director(s)
Peter Schumann
Website breadandpuppet.org

The Bread and Puppet Theater (often known simply as Bread & Puppet) is a politically radical puppet theater, active since the 1960s, based in Glover, Vermont. The theater was co-founded by Elka and Peter Schumann. Schumann is the artistic director.

Contents

The name Bread & Puppet is derived from the theater's practice of sharing its own fresh bread, served for free with aïoli, with the audience of each performance to create community, and from its central principle art should be as basic as bread to life. Some have heard echoes of the Roman phrase "bread and circuses" or the labor slogan "Bread and Roses" in the theater's name as well, though these are not often mentioned in Bread & Puppet's own explanations of its name.

The Bread and Puppet Theater participates in parades including Independence Day celebrations, notably in Cabot, Vermont, with many effigies including a satirical Uncle Sam on stilts.

History

Peter and Elka Schumann founded the Bread & Puppet Theater in 1963 in New York City. [1] It was active during the Vietnam War in anti-war protests, primarily in New York City, prompting Time reviewer T.E. Kalem to remark in 1971, "This virtual dumb show is as contemporary as tomorrow's bombing raid." [2] Many people remember it as central to the political spectacle of the time, as its enormous puppets (often ten to fifteen feet tall) were a fixture of many demonstrations. A Sicilian puppet show had inspired Schumann, and Bread & Puppet inspired other groups across the continent, including Gary Botting's Edmonton-based People & Puppets Incorporated, which in the early 1970s also used effigies yards-high to depict political themes and social commentary in radical street theater. [3] In 1970 the theater moved to Vermont, first to Goddard College in Plainfield, and then to a farm in Glover where it remains. The farm is home to a cow, several pigs, chickens, and puppeteers, as well as indoor and outdoor performance spaces, a printshop, a store, and a large museum showcasing over four decades of the company's work. Bread & Puppet has received National Endowment for the Arts grants, awards from the Puppeteers of America, and other organizations.

In 1984 and 1985 they toured colleges with an indoor play, The Door, which told the story of "the massacre of Guatemalan and El Salvadorian Indians and the plight of refugees trying to escape through a diabolically opening and closing door to the North." [4] With "only minimal use of the spoken word", the play made its points "with great simplicity and beauty". [5]

Our Domestic Resurrection Circus - mid-1980s Bread and Puppet Circus.jpg
Our Domestic Resurrection Circus - mid-1980s

Until 1998, Bread & Puppet hosted its annual pageant and circus (in full, Our Domestic Resurrection Circus), in and around a natural amphitheater on its Glover grounds. In the 1990s, the festival began drawing crowds of tens of thousands, who camped on nearby farmers' land during the annual summer weekend of the pageant. The event became unmanageable, and concerned itself less with the theater's performance. In 1998, a man was killed by accident in a fight while camping overnight for the festival, forcing director Peter Schumann to cancel the festival. [6] Since then, the theater offers smaller weekend performances all summer, and traveled around New York and New England, with occasional tours around the U.S. and abroad. The theater runs a program where apprentices help produce and act in performances. [7] In New York City, Bread & Puppet performs at Theater for the New City during the holiday season each year.

"Cheap Art" and theater funding

The Bread & Puppet Theater operates under what they call the "Why Cheap Art" manifesto. [8] This principle states that art should be accessible to the public, not "a privilege of museums & the rich". [8] The theater is quoted as claiming: "art is not a business". [9] Bread & Puppet productions are free or paid for by donation, and related art is for sale "for very little money". [10]

The theater operates on a "shoestring" budget. [10] This means that staff are historically paid as low as $35 a week (in 1977) and that many items used in the production of the theater, including clothing and raw puppet materials, are obtained second hand or by donation. [11] [12] The theater typically has been known to generate the funds necessary for production by going on tour. [11] Although government grants are available to the theater, Schumann rejects the "absurdity" of grants for protest, insisting the lack of aid "leaves him freer to experiment". [11] This attitude towards business led Schumann to disband the communal company of the theater in 1973 out of concern that the theater was coming too close to a "pattern of the professional theater". [11] Disbanding the company gave Schumann "uncompromising control" over production. [11]

"Cheap art" is said to be a core principle of the theater, and is reflected both in its ethics and in its aesthetics. Ethically, the theater is described as anticapitalist and generally is regarded as having a "hippie" viewpoint, [13] Aesthetically, the theater is often described as "slapdash" or "unsightly", as well as modest and "distinctively homemade". [12] [11]

Causes

Specific causes supported by the theater include:

Works

Performances

Fire (1965)

An hour long play that critiqued the ongoing war in Vietnam. It was dedicated to American protesters who died after setting fire to themselves and depicted life for Vietnamese villagers during the war. [17]

Birdcatcher in Hell (1971)

A kyōgen that critiqued President Nixon's pardoning of soldiers involved in the My Lai massacre. [18]

Stations of the Cross (1972)

Described by Larry Gordon, at the time the general manager of the company, as a "partially metaphoric [and] partially literal" rendering, Stations of the Cross was a contemporary interpretation of the New Testament story of Jesus' suffering on the way to his eventual crucifixion. Gordon provided the music direction for the production, the first time Sacred Harp music was performed at Bread and Puppet. [19] [20] Elka Schumann stated that the production was also a metaphor for the Cuban Missile Crisis. [19]

Joan of Arc (1979)

A show that incorporated musical instruments and puppetry into a retelling of the story of St. Joan. This work also had a revival in 1999. [21] Taiwan is the first Asian country to show the new version of Joan of Arc in 2009.

Mending the Sky/Bu Tian (1994)

A collaboration between Bread and Puppet Theater and the 425 Environmental Theatre in Taipei, Taiwan. The play focused on current pollution issues in Taiwan through references to traditional Chinese mythology. In particular, the show depicted the goddess Nüwa and called attention to the pollution of the Tamsui River in its first performances. Later performances focused on different geographical features affected by pollution depending on where the show took place. For example, the work focused on the Love River when it was shown in Kaohsiung, Taiwan. Overall, the effectiveness of this collaboration was called into question because many of the members of the 425 Environmental Theatre engaged in environmentally harmful practices (such as smoking) and a part of the show involved burning a puppet which created a considerable amount of black smoke. Still, the work received praise from critics for its relevant social messages. [22]

Bread Baker's Cantata (1999)

Performed alongside the revival of Joan of Arc. It was a slow paced play that depicted an old woman's last day on Earth using singers and actors. [21]

Books and publications

In addition to the theater, some of the Bread & Puppet puppeteers operate the Bread & Puppet Press, directed by Elka Schumann, who is Peter Schumann's wife (and granddaughter of Scott Nearing). The press produces posters, cards and books on the theater's themes as well as other forms of "cheap art".

Publications from the Bread & Puppet Press include:

Notable contributors

Notable writers and performers who have participated in the theater, include:

Conflicts

2000 Republican National Convention

Bread & Puppet volunteers were among the 79 people arrested at a warehouse in Philadelphia during the 2000 Republican National Convention. The Associated Press reported the scene of the "SWAT-style" raid was broadcast live by news helicopters. Years later, the AP explained there "was tense talk (later proved unfounded) of terrorist plots being hatched in the 'puppetista' headquarters, of bomb building and anarchist-fueled mayhem". Its report did not include the police's side of the story.

"A couple of our folks were down there, helping to build puppets", said Linda Elbow, company manager for Bread & Puppet. "The cops went into the studio ... arrested people, and took the puppets. So, now, puppets are criminals." [24]

2001 Halloween Parade

The Bread & Puppet Theater is a regular participant in New York's Village Halloween Parade, noted for its use of giant puppets. In 2001, Bread & Puppet did not march in the parade. The theater's plans that year included a presentation protesting the War in Afghanistan. The Halloween parade was to occur fifty days after and 1.5 miles away from the September 11, 2001, attack on the World Trade Center. It was this attack which was the pretext for starting the war which Bread & Puppet Theater was protesting, and the company's "anti-war stance" reportedly "already placed it at odds with some New Yorkers", according to Dan Bacalzo of TheaterMania.com. [24] Many of the parade's macabre elements were suspended that year by its director Jeanne Fleming. It was not known until October 25 whether it would even take place.

Linda Elbow commented, "We certainly weren't saying 'Hooray for the terrorists.' We were saying, 'Look what you're doing to the people of Afghanistan.'" [24] An unattributed quote in Bacalzo's report — "What you're bringing, we don't want" — suggests it was the group's selection of material that was unwelcome, not the group itself. The report did not make it clear how the decision was made, or who made it; the incident was included as secondary background material in a piece publicizing an upcoming Bread & Puppet show. Fleming, who was not interviewed by Bacalzo (but is quoted as if she was), says that Bread & Puppet was not "disinvited", adding that it was she who first invited the company to march in the parade when she took over as organizer.

In December 2001 the theater returned to New York with The Insurrection Mass with Funeral March for a Rotten Idea: A Special Mass for the Aftermath of the Events of September 11th. It was presented at Theater for the New City, and billed as "a nonreligious service in the presence of several papier-mâché gods". "Insurrection masses" are a common format for the Bread & Puppet Theater, as are such "funerals", though the "rotten" ideas change. [24]

Critics' comments

The Bread and Puppet bus on tour, parked in front of the Ant Hill Cooperative in Rochester, New York. Bread and Puppet bus on tour.jpeg
The Bread and Puppet bus on tour, parked in front of the Ant Hill Cooperative in Rochester, New York.

Writers who praised Bread & Puppet include historian Howard Zinn, who cited its "magic, beauty, and power", and poet and NPR commentator Andrei Codrescu, who wrote: "The Bread & Puppet Theater has been so long a part of America's conscious struggle for our better selves, that it has become, paradoxically, a fixture of our subconscious." [25]

The theater's protestations of the Vietnam war and message of peace generally received positive television coverage, as noted in peace focused magazine WIN . [26] Keith Lampe, in WIN, also positively comments on the theater's 1966 anti-war demonstration by commending Peter Schumann's "concern for movement", "sound", and "appearance". [26]

In a 2015 criticism of the theater's production The Seditious Conspiracy Theater Presents: A Monument to the Puerto Rican Political Prisoner Oscar Lopez Rivera , Gia Kourlas describes the show as "patchy", at times "more cute than pointed", and seemingly "preaching to the converted". [27]

The Bread & Puppet Theater has a visual reference in the 2007 Julie Taymor film Across the Universe . The movie replicated characters such as Uncle Fatso, Washer Women, White Ladies, and the many armed Mother head. The Bread & Puppet Circus Band also has a reference in the costumes of the circus band during "Being for the Benefit of Mr. Kite!". The difference between the real life costumes and the ones made for the movie is the real life ones are red and black, whereas in the movie they are white and black. The Bread & Puppet Theater is in the film's credits. [28]

In her 2008 memoir A Freewheelin' Time: A Memoir of Greenwich Village In The Sixties, New York painter and illustrator, Suze Rotolo, notes she worked a fabrication job with Bread & Puppet early in 1963 near Delancey Street on the Lower East Side of Manhattan. Rotolo, at the time, was the girlfriend and muse of Bob Dylan and was the inspiration for the songs "Suze (The Cough Song)", "Don't Think Twice, It's Alright", "Tomorrow Is a Long Time", "One Too Many Mornings", and "Boots of Spanish Leather".

See also

Footnotes

  1. "About B & P's 50 Year History". Bread and Puppet Theater. Archived from the original on 22 June 2022. Retrieved 9 November 2022. Peter and Elka decided on the name Bread and Puppet Theater. The name stuck. The year was 1963.
  2. Cited in Gary Botting, The Theatre of Protest in America (Edmonton: Harden House, 1972), 21-22
  3. Tihemme Gagnon, "Introduction", Streaking! The Collected Poems of Gary Botting (Miami: Strategic, 2014) xxviii
  4. Van Erven, Eugène: Radical People's Theatre Indiana University Press, 2000
  5. Jaques, Damien. "Play says a lot by saying little". Milwaukee Journal, May 5, 1985
  6. "Reviews and awards for Ecology on Milkweed Edition's site - Chelsea Green Publishing". chelseagreen.com. 9 November 2017.
  7. "Apprenticeship - Bread and Puppet Theater". www.breadandpuppet.org.
  8. 1 2 "Why Cheap Art Manifesto – Bread and Puppet Theater". breadandpuppet.org. Retrieved 2022-11-15.
  9. "The Bread & Puppet Theatre: A Living Museum of American Hippie Culture". Messy Nessy Chic. 2020-02-18. Retrieved 2022-11-15.
  10. 1 2 Eby, Lois (2002-12-16). "Great thoughts: Bread and Puppet Theater". Welcome to the VPR Archive. Retrieved 2022-11-15.
  11. 1 2 3 4 5 6 Goldensohn, Barry (1977). "Peter Schumann's Bread and Puppet Theater". The Iowa Review. 8 (2): 71–82. doi: 10.17077/0021-065X.2206 . JSTOR   20158745.
  12. 1 2 Estrin, Marc (2011). "The Sustainable Energy of the Bread & Puppet Theater: Lessons Outside the Box". The Radical Teacher (89): 20–30. doi:10.5406/radicalteacher.89.0020.
  13. Chiasson, Dan. "Larger Than Life | Dan Chiasson". ISSN   0028-7504 . Retrieved 2022-11-15.
  14. "objector.org - objector Resources and Information" (PDF). www.objector.org. Archived from the original (PDF) on 2021-12-04. Retrieved 2007-03-06.
  15. Cooks, Ristin. "Puppet Masters". indyweek.com. Archived from the original on 2008-05-25. Retrieved 2018-03-29.
  16. Failure is the New Progress [ permanent dead link ]
  17. "The Grail at Reed College — Radical Puppets! Bread and Puppet Performs "Fire" at Reed". The Grail at Reed College. 29 October 2015. Retrieved 2021-10-23.
  18. "Bread and Puppet Theater: Birdcatcher in Hell". hemi.nyu.edu. Retrieved 2021-10-23.
  19. 1 2 Crossette, Barbara (April 25, 1980). "Bread and Puppet Group's 'Stations of the Cross' Comes to St. John the Divine; One Group Working in France". The New York Times . Retrieved 12 November 2021.
  20. Kalish, John (November 10, 2021). "Larry Gordon, creator of community choruses in Vermont, dies". The Vermont Journalism Trust. VTDigger. Retrieved 11 November 2021.
  21. 1 2 Christiansen, Richard (15 March 1999). "Bread and Puppet Offers Some Enchanting Evening". Chicago Tribune. Retrieved 2021-10-24.
  22. Diamond, Catherine (1995). "Mending the Sky: Fighting Pollution with Bread and Puppets". Asian Theatre Journal. 12 (1): 119–142. doi:10.2307/1124471. ISSN   0742-5457. JSTOR   1124471.
  23. "Products – Bread and Puppet Theater" . Retrieved 2021-10-23.
  24. 1 2 3 4 "Mass Appeal | TheaterMania". www.theatermania.com. 3 December 2001. Retrieved 2022-11-15.
  25. "Rehearsing with Gods – Bread and Puppet Theater". breadandpuppet.org. Retrieved 2022-11-15.
  26. 1 2 Lampe, K. (1976). "Bread & Puppet Theater". Win: Peace and Freedom thru Non Violent Action, 12 (15), 18–19. [ dead link ]
  27. Kourlas, Gia (17 December 2015). "Review: Bread and Puppet Theater Takes up the Cause of a Puerto Rican Nationalist". The New York Times.
  28. Across the Universe. DVD. Directed by Julie Taymor. (Revolution Studios, 2007)

Related Research Articles

The following outline provides an overview of and topical guide to entertainment and the entertainment industry:

<span class="mw-page-title-main">Puppetry</span> Form of theatre or performance that involves the manipulation of puppets

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.

<span class="mw-page-title-main">Suze Rotolo</span> American artist (1943–2011)

Susan Elizabeth Rotolo, known as Suze Rotolo, was an American artist, and the girlfriend of Bob Dylan from 1961 to 1964. Dylan later acknowledged her strong influence on his music and art during that period. Rotolo is the woman walking with him on the cover of his 1963 album The Freewheelin' Bob Dylan, a photograph by the Columbia Records studio photographer Don Hunstein. In her book A Freewheelin' Time: A Memoir of Greenwich Village in the Sixties, Rotolo described her time with Dylan and other figures in the folk music and bohemian scene in Greenwich Village, New York. She discussed her upbringing as a "red diaper" baby; a child of Communist Party USA members during the McCarthy Era. As an artist, she specialized in artists' books and taught at the Parsons School of Design in New York City.

<span class="mw-page-title-main">The Living Theatre</span> American theatre company

The Living Theatre is an American theatre company founded in 1947 and based in New York City. It is the oldest experimental theatre group in the United States. For most of its history it was led by its founders, actress Judith Malina and painter/poet Julian Beck. After Beck's death in 1985, company member Hanon Reznikov became co-director with Malina; the two were married in 1988. After Malina's death in 2015, her responsibilities were taken over by her son Garrick Maxwell Beck, Tom Walker and Brad Burgess. The Living Theatre and its founders were the subject of the 1983 documentary Signals Through the Flames.

<span class="mw-page-title-main">Peter Schumann</span>

Peter Schumann is the co-founder and director of the Bread & Puppet Theater. Born in Silesia, he was a sculptor and dancer in Germany before moving to the United States in 1961. In 1963 he founded Bread & Puppet in New York City, and in 1970 moved to the Northeast Kingdom of Vermont, eventually settling in Glover, Vermont, where the company still performs. Schumann's best known work is the Domestic Resurrection Circus, performed annually by the Bread and Puppet Theater until 1998. He was married to theater co-founder Elka Schumann until her death in August 2021.

<span class="mw-page-title-main">Street theatre</span> Form of theatrical performance

Street theatre is a form of theatrical performance and presentation in outdoor public spaces without a specific paying audience. These spaces can be anywhere, including shopping centres, car parks, recreational reserves, college or university campus and street corners. They are especially seen in outdoor spaces where there are large numbers of people. The actors who perform street theatre range from buskers to organised theatre companies or groups that want to experiment with performance spaces, or to promote their mainstream work. It was a source of providing information to people when there were no sources of providing information like television, radio etc. Nowadays, street play is used to convey a message to the crowd watching it. Street play is considered to be the rawest form of acting, because one does not have a microphone or loud speakers.

Black Ox Orkestar is a quartet that formed in Montreal, Quebec in 2000 who play modern Jewish diasporic music that draws influence from Klezmer, Romani, Arabic, Balkan and other East European traditions alongside indie rock, experimental folk and avant-jazz. The band interprets traditional tunes and composes originals sung primarily in Yiddish.

<span class="mw-page-title-main">New York's Village Halloween Parade</span> Parade held every Halloween in New York

The Village Halloween Parade is an annual holiday parade held on the night of Halloween, in the Greenwich Village neighborhood of New York City. The parade, initiated on October 31, 1974 by Greenwich Village puppeteer and mask maker Ralph Lee, is the world's largest Halloween parade and the only major nighttime parade in the United States. The parade reports itself to have 50,000 "costumed participants" and 2 million spectators. The parade has its roots in New York's queer community.

Stefan Sebastian Brecht was a German-born American poet, critic, and scholar of theatre.

<span class="mw-page-title-main">Islewilde</span>

Islewilde is a community-created art and performance festival that takes place each August on Vashon Island, WA.

<span class="mw-page-title-main">Spiral Q Puppet Theater</span> Puppet troupe based in Philadelphia, Pennsylvania

Spiral Q Puppet Theater is a puppet troupe founded in 1995 by Matthew "Mattyboy" Hart in Philadelphia, Pennsylvania. After traveling the country, Hart was inspired by the street performance work of the Radical Faeries and the Bread and Puppet Theater in Glover, Vermont. On his return to Philadelphia, Hart founded Spiral Q as a way to use his new interest in puppetry, street theatre and pageantry to promote social and political change.

Guerrilla theatre, generally rendered "guerrilla theater" in the US, is a form of guerrilla communication originated in 1965 by the San Francisco Mime Troupe, who, in spirit of the Che Guevara writings from which the term guerrilla is taken, engaged in performances in public places committed to "revolutionary sociopolitical change." The group performances, aimed against the Vietnam War and capitalism, sometimes contained nudity, profanity and taboo subjects that were shocking to some members of the audiences of the time.

<span class="mw-page-title-main">Friedrichstadt-Palast</span> Revue theatre in Berlin

The Friedrichstadt-Palast, also shortened to Palast Berlin, is a revue theatre in the Berlin district of Mitte. The term Friedrichstadt-Palast refers both to the building as well as the institution and its ensemble. The present building is distinct from its predecessor, the Old Friedrichstadt-Palast, which was located near Schiffbauerdamm and demolished in 1985. To distinguish it from its aforementioned predecessor, the building is also commonly known as Neuer Friedrichstadt-Palast (New Friedrichstadt-Palast).

Angry Arts Week was an event organised by a group of radical artists based in Lower East Side, New York City in January 1967. It brought together such people as Michael Brown of the Pageant Players, Peter Schumann from the Bread and Puppet Theatre Osha Neumann, performance artist Carolee Schneemann, and the painter Ben Morea. They were particularly active opposing the Vietnam War.

Great Small Works is a performance collective founded in New York City in 1995. Its six founding members—John Bell, Trudi Cohen, Stephen Kaplin, Jenny Romaine, Roberto Rossi, and Mark Sussman—draw on avant-garde, folk, and popular theater traditions to address contemporary social issues in a various scales, from tiny toy theater spectacles to giant puppet pageants.

Robert Nichols was an American poet, playwright, novelist, and architect.

Animal Cracker Conspiracy Puppet Company, or Animal Cracker Conspiracy (ACC), is a contemporary hybrid puppet company co-founded by Iain Gunn and Bridget Rountree that is invested in pushing the boundaries of kinetic performance, creating performances that "decenter expectations, open new avenues of thought, and invoke the uncanny." Their ongoing practice is based on a shared interest and exploration of where fine art, puppetry, performance art, circus, dance, film, and mixed media intersect. They perform nationally and internationally out of a multiplicity of venues such as La Jolla Playhouse in San Diego, California, where the company resides. ACC specializes in inclusive multimedia performances that encourage difficult discussions and foster community through local theater, Street Parades, and national tours.

<span class="mw-page-title-main">Giant puppet</span> Type of large puppet

A giant puppet is a puppet which is tall enough to be easily visible to a street crowd while being manipulated by puppeteers, on the same level. It is therefore most suitable for processions, street theatre and performance art, although some large theatrical animations can be used for the same purpose. Giant puppets are usually articulated and made from a lightweight material. Some are manipulated by puppeteers using rods, strings, stilts, other mechanisms, or a combination of these. Giant puppets have been used worldwide for street entertainment, celebrations or other purposes from ancient times, and they continue in use and in development today. Of the traditional giant rod puppets, the Chinese dragon New Year puppet is "perhaps the most recognized form of the parade puppet". Of the most recent examples, Royal de Luxe of France has produced a notable set of giant string puppets.

<span class="mw-page-title-main">Paperhand Puppet Intervention</span> Puppet performance company in North Carolina

Paperhand Puppet Intervention is a puppet theatre company based in Saxapahaw, North Carolina and founded in 1998 by Donovan Zimmerman and Jan Burger. Frequently performing outdoors, the group performs original stories inspired by the relationship between the natural world and humanity. The stories include messages of social commentary and activism especially regarding conservation and race.

Sara Peattie is a giant puppet artist and runs Boston's Puppet Free Library.

References

44°41′03″N72°10′41″W / 44.68417°N 72.17806°W / 44.68417; -72.17806