6TH INTERNATIONAL CONFERENCE OF DOCTORAL STUDIES OF THEATRE
SCHOOLS, THEATRE FACULTY JAMU
DRAMATIC TEXT AND ITS VISUALIZATION IN PUPPET THEATRE
Scholarly contribution
author: Mgr.art Naďa Uherová
ACADEMY OF PERFORMING ARTS IN BRATISLAVA, THEATRE FACULTY
STUDY PROGRAM: PUPPETRY
STUDY DIVISION: 2.2.4. THEATRE ART
WORKPLACE: DEPARTMENT OF PUPPETRY
INSTRUCTOR: Doc. MgA. IDA HLEDÍKOVÁ – POLÍVKOVÁ, PhD.
2013
Bratislava
ABSTRACT
The goal of my contribution is to outline the research subject of my doctoral thesis
from Academy of performing art i.e. to name the basic dramaturgic rules of dramatic text
and possibilities of its visualization in puppet theatre considering its specifics.
In my thesis I focus on issues concerning the search for harmony between dramatic
text and its visualization using fine artistic ways and means in puppet theatre. By the word
“harmony“ I refer to creation of absolutely natural space, where both components are in
balance and match together to a poetic unit, the performance. The act of choosing and
connecting two different components of performance
in a way they are able to make one piece, requires thorough knowledge of each attribute
separately.
In this contribution I talk about research and analysis outline of chosen materials,
types of puppets used in puppet theatre. I describe specific attributes
I consider being necessary to acknowledge, while working with dramatic text
in puppet theatre. I search and examine the characters and options between them with regard
to harmonic symbiosis on puppet stage. I describe the way of applying the knowledge
practically in directing my absolvent performance “Mloky”- “The Newts” (based on Karel
Čapek’s novel).
My goal is to theoretically and practically examine individual attributes of dramatic
text and properly assign them on the strength of mutual components and associations to
concrete visual possibilities offered by puppet theatre.
Key words: dramatic text, visualization, harmony, fine artistic means, analysis,
mutual components and associations
2
INTRODUCTION
In my thesis I focus on issues concerning the search for harmony between dramatic
text and its visualization using fine artistic ways and means in puppet theatre. By the word
“harmony“ I refer to creation of absolutely natural space where both components are in
balance and match together to a poetic unit, the performance. The act of choosing and
connecting two different components of performance
in a way they are able to make one piece requires thorough knowledge of each attribute
separately. In this contribution I talk about research and analysis outline of chosen materials,
types of puppets used in puppet theatre. I describe specific attributes
I consider being necessary to acknowledge while working with dramatic text
in puppet theatre.
As a last year absolvent of Puppetry department where I currently proceed in second year of
PhD. studies, I build on my directing and dramaturgic experiences that I have gained during
the study at Academy of performing arts and partially at professional theatres and abroad.
Concretely I am leaning on the knowledge and experiences
I have applied in dramaturgy and directing my absolvent performance “Mloky-The Newts”
based on Karel Čapek’s novel.
Searching for harmony
In the beginning of this contribution I presume a small reflection, where I explain my
point of view and process of creating puppet performance, methods of creative process and
the reason why I consider searching for harmony between components of performance to be
important.
Puppet theatre is type and genre of art, which is opened to many different means of
expression, genres and also artistic types. Its name has in contemporary world several forms
such as puppet theatre, theatre of playing objects, visual theatre etc., it still keeps its nature –
the fine art. Fine art makes this form so specific, expressive and different. Many reflections
say that puppet theatre is same close to fine art as to art of theatre. It is connected with
theatre by many other means of expression. Such as dramatic text, music, movement and
dance which are the parts of puppet theatre.
3
From my point of view the harmony between those components is very significant, harmony
in means of creating the natural space where all the elements match together.
Methods of creative process
The author starts from scratch each time he or she produces a new puppet play. The
inspiration can come from anywhere. He/she may read a lovely story or see an impressive
tree that is able to talk to him silently in its language. Process of the creation is very unique
and rewarding regardless to what direction it flows. Usually for the first seen inspiration we
find a partner who fits it and lives with it the life – the performance. In my opinion this is
what dramaturgy is about; choosing suitable partners for life on stage.
In practice it happens to vary, depending on the artist and theatre. For instance, in
stone puppet theatres exists a custom that the dramaturges search and work with the dramatic
text first. Other artists, who feel and think in a fine artistic images first, reach for material,
examine its options and character and then they find it the partner – for text or something
different. Both of these ways are absolutely equal and it is the choice of each artist to pick
the one that suits him the best. Of course there are many methods of creative process,
however I have chosen precisely this combination.
In my thesis I decided to explore the relationship between dramatic text and its
visualization in puppetry and vise versa. I have chosen those two because I consider them to
be equally relevant and equipollent in puppet performance. During my study at Academy of
performing arts, puppet directing and dramaturgy I have tried several methods of creative
process. Gradually I have attained an opinion that dramatic text is for me the first on the way
to performance.
That is also the reason why I have started to think within my dramaturgic and
directing production about looking for harmony between both components. My
considerations have been influenced by puppeteer and theorist John Bell and his article
Death and the subject on the scene in magazine Puppeteer. I have been thinking about the
character of dramatic text and materials that the puppets are made from; about the way they
appear on stage, what do they create, how do they behave to each other, what do they say,
what message do they carry etc. I have progressively started to perceive coherences between
them and in my mind I tried to put together this puzzle by choosing matching parts that
create the whole image.
4
This worked for me on the basis of analysis, logic, feeling and intuition and
examining both components that we join to the unit - the performance. In the creative
process the artist does use not only brain but also his or her feelings and intuition. In my
piece of work I explore these attributes in objective way, rationally – by analysis and logic,
I am guided by given knowledge. This information may help the artists during dramaturgic
preparation of performance to acknowledge the basics and characteristics of material that
they are going to work with and its attributes and possibilities, which it offers. There is
a need to acknowledge the nature of dramatic text and how it fits the material. In my PhD.
thesis I plan to introduce some basic exercises that work more with individual artistic sense,
poetics. The exercises work with emotions and intuition through which they open door to
directing and dramaturgic conception of a piece.
Dramaturgic text
From literature and also from experiences and observation we know, that there are
many different points of view and opinions about dramatic text in puppet theatre. One of
them is the acknowledgement of differences between dramatic text for puppets and dramatic
theatre, which outlines from specifics of the concrete expression means included in concrete
artistic type. Puppet theatre is the kind of art that uses nonliving matter (puppets, objects,
material) as its extraordinary and main mean of expression. This matter expresses its
unchanging characteristics by its shape and material. In different words, Karel Makonj has
written that “if puppet has a smile it is destined to smile forever”. Only the actors’ action in
relationship with the matter can slightly change these characteristics in the eyes of audience.
Puppet theatre is a theatre, which expresses its messages also with fine artistic elements.
Compering to dramatic theatre, where the only and main action maker is living actor using
his gestures, mimics, movement and natural voice.
Puppetry has in its expression means the same distance to fine art as to theatre. G.W.F. Hegel
finds a basic principle in sculpturing: „a spirit sinks into something material and profiles thi
s outside shell in a way that the spirit is fully present and can recognize the natural form of it
s own inside“. I consider this principle to be identic in puppet theatre. So the statement is app
ropriate that dramatic text for puppet theatre and for dramatic theatre should obtain different
attributes.
____________
MAKONJ, K. 2007. From puppet to object
5
Very relevant factor is the concrete character of dramatic text, the genre. Dramatic
text’s genre talks to us about the atmosphere of the play, tempo, dynamics etc. We are able to
choose the genre on the strength of mutual elements and assign concrete type of material,
puppet - technology that fits it. This expression means scheme of individual puppetry types
and their symbiosis with chosen dramatic genres was worked out by prof. Henryk Jurkowsky
in his work Puppet’s magic. I introduce it in the end of this contribution in the additional
part. Other characteristic of dramatic text for puppets is suitable text length, which the
puppet is able to “bear”.
There are many different fine artistic means and materials used in puppet theatre,
each of them different. We are not able to measure in general what text length should be used
in puppet theatre. We can only name through short analysis some individual characteristics
of materials and types of puppets.
Fine artistic means in puppet theatre
John Bell in his article “Death and subject on the scene” says that the choice of
material in puppetry is significant because some substances such as: herbs, wood, skin and
bones are closer to world of death than metal, glass and plastic which connection between
the border of life and death is not so evident. Wood is traditional material for masks, objects
of fetish, drums and other musical instruments. Wood, herb materials, skin and bones keep
the closeness to time when the actual subject was really living. Objects made from metal,
plastic or glass don’t have so close organic connection and therefore they have to make more
effort in fighting the life in performance. But the result they are able to obtain is a lot more
surprising – the dynamics of movements operated by computers in Disneyworld Hall of
Presidents or dinosaurs in Jurassic park. Simulation of life by mechanical elements brings so
strong identification with death, which belongs to materials that are distant to any previous
life. This fact is clearly noticeable in destructively playing machines Survival research
laboratories by Mark Paulin etc.
With the choice of material we simultaneously choose the type of puppetry
technology that we want to use in our performance. I have included in my research those
diversified types of technologies: marionette, hand puppet, mannequin puppet,
________
BELL, J. 2011, Death and subject on the scene, in Puppeteer 5/2011
6
Javanese puppet, shadow puppets, paper puppets, 2D puppets, rod puppets, totem puppets,
Ningio joruri – Bunraku, water puppets.
While examining them I was concentrating on these chosen subjects:
1. Puppet’s origin (if known)
where does it come from, how was it most likely created, what is its tradition.
2. Puppet’s in\dependence
i.e. basic difference in animating the puppet is the in\dependence of puppet from human
hand. If the puppet is straightly animated by human hand it is manipulated by this human
factor and it is a dependent being on the stage. If the puppet is just accepting impulses
from human hand through sewing, sticks etc. It becomes individual independent being on
the stage.
3. Type of conduction
description of technology and method of animating the puppet. Naming each part from
which is the puppet constructed, what basic options this conduction offers (what parts of
body can be animated, what is the efficiency of puppet’s hands). Holding the puppet and
the way of animating.
4. Movement characteristics
what options of movement does the puppet offers, what rhythm and tempo are the most
natural and how it appears on stage
5. Suitable stage set
Type of stenographic space in which the puppet has the best chances of usage
6. Costume
How does it complete the puppet’s body, to what extinct is its necessary part. What
options it offers to the puppet.
I am going to point out basic characteristics of the most popular european puppets –
hand puppets a marionettes according to prof. Henryk Jurkowski in his work Puppet’s
magic: “Hand puppet uses human hand which behaves as inside inspiration of its
activity; so it is the other continuing of human body. The hand is a part substituting the
whole (synecdoche). Marionette is independent being accepting impulses from puppeteer
through sewing (metonymy). Images created by hand puppet animator have human
character, outlining from its own body meanwhile other puppets are clearly puppet like
not human like. Marionette creates completely independent and surreal way of
7
expression in a meaning of its own world where the mechanic principles are dominant”.
Marionette requires the conductor to stand above it; its movement is slow, stiff. Hand
puppet disposes a lot more dynamics to movement, it is led by hand from the bottom and
it requires the table screen space.
As I see it on the analysis of material’s characteristics and types of puppets, we are
able to synchronize the choice of fine artistic means in puppet theatre with character and
genre of dramatic text and vice versa, certainly according to overall intention of directing
conception. Authors who write to measure of puppet theatre with the focus on fine
artistic side of performance are the minority. Every dramatic text is author’s unique piece
of work.
Performance The Newts according to Karel Čapek’s novel
During my dramaturgical preparation of absolvent performance The Newts at
Academy I’ve put an effort to searching the fine artistic means that were in sync with
dramatic text in the final form of performance one to one (1:1). The creators may
approach this way from the other end also. In my opinion the relevant in final form is the
base of performance, the dramatic text and scenography to join in natural space for the
life of performance. I edited dramatic text in The Newts performance according to Karel
Čapek’s novel War with the Newts, dramatized by Peter Gregor for Slovak broadcast in
1991, according to my directing conception and opinion or sense for current society. I
have substituted the threat of world war in performance’s artwork with mass medial
manipulation. I have kept the time when author wrote this piece (the thirties) because of
its visual attractiveness. On the stage in The Newts performance was huge typewriter
that was made of individually standing table screens of different height with printing.
After my auctorial text edit two journalists have become the main characters – the
manipulators, played by two drama actors. We have used four types of puppets, which
we tried to zoom in to the nature of characters, text and conception. The highest in the
hierarchy was captain Vantoch and millionaire Bondy, we can call them the main story
shifters in the beginning of the performance that brought the first money to the journalists
who had nothing to write about during the dead season.
8
Those two, the businessman Bondy and ostensibly blabbing Vantoch looked like this:
modeled puppet’s head was nearly the size of human head in consideration to its weight
and more complicated conducting we decided that those puppets will be led by two
actors. The puppets were created from combination of Javanese and hand puppet
technology.
One actor guided the head with openable mouth on conduction stick, and second actor’s
living hands were put into sleeves of puppet’s costume. The second in hierarchy is the
married couple Povondrovci who represented ordinary middle class, “independent in
opinions” from what is said in daily press. We have used hand puppets for this sample
couple. They are over fifty years old and live their everyday routine, they comically get
on each other’s nerves. The third type of puppets were little marionettes made from toys
Barbie and Ken. They were used in filming scene that journalists made up to cheat and
make another “sensation” that could bring them money. The last character of this story
was the newt alone. It was forming gradually from “the canard” made up by those two
featherheads. The papers thrown away from typewriter on scene were progressively
coming to life and developed according to “Darwin’s theory” to huge monster. In the end
it attacked its creators, the journalists. Here they are (pictures – additional part no.2).
I assume that on the baseline we succeeded in creating the natural space for the
character’s life, stating the main idea and the fact that both of the components blended
together in their roots. To transfer the powerful idea, opinion statement to the audience,
we worked with the actors, substantially with underplay.
I recognize the underplay as a continuous thinking line of the character that occurs in
parallel to actual play line.
By brief example of my absolvent performance The Newts I wanted to demonstrate the
methods of thinking and using mentioned knowledge and reflections in practice.
Conclusion
I continue in second year of PhD. studies with my research in department of puppetry
at Academy. I approach theoretically to the research through consultations with my
instructor Doc. MgA. Ida Hledíková – Polívková, PhD. Also practically, on the lessons
of puppetry acting. through creating annual performances of student.
9
In conclusion I would like to quote my favorite artist V. Kandinskij
“The world is full of resonances. It creates the universe of phenomenon, which can make
spiritual affection. The death matter is living spirit.”
Appendix no.1
In the piece of work Puppet’s magic Henryk Jurkowski introduces an interesting
“Scheme of expression possibilities of individual types of puppet theatre”:
Category
Essential qualities
deciding about suitability
Fairy tale
hand puppets
simplicity, fantasy,
stick
marionettes
shadow
-
x
x
xx
-
xx
xx
-
timelessness
legend
simplicity, fantasy,
Timelessness
fable
simplicity, fantasy
-
xx
xx
-
myth
symbolism, timelessness
-
x
xx
x
mystery
symbolism, timelessness
-
x
xx
x
tragedy
antonyms, symbolism,
-
x
x
x
x
x
schematization, austerity
tragedy
limitation,
x
x
individual puppet fatal must
highness
austerity, antonymous effort, -
-
-
xx
Impersonality
comedy
antonym: mechanicalness,
x
x
x
x
Vitality
burlesque
rough antonym: mechanicalness, xx
xx
xx
xx
10
Vitality
grotesque
fantastic antonym:
x
xx
xx
xx
mechanicalness – vitality
parody/
satiric antonym:
travesty
mechanicalness- vitality
satire
satiric antonym:
x
x
x
x
--
--
--
x
mechanicalness- vitality
humor
universal antonym:
xx
xx
xx
xx
mechanicalness- vitality
x = suitable
xx = more suitable
--- = almost fully unsuitable, only in special occasions and to certain extinct
-= unsuitable
11
Appendix no.2. :
Visual appendix is added separately because of its extensive content.
12
LIST OF BIBLIOGRAPHIC REFERENCES
1. MAKONJ, Karel. From puppet to object. Praha: Pražská scéna, 2007. 207s. ISBN
978 – 80 – 86102 – 60 – 3
2. JURKOWSKI, Henryk. Puppet’s magic.
Publisher: Studio Ypsilon, Prague 1997. 287s. ISBN 80 – 902482 – 09
TECHNICAL PEERIODICALS
1. BELL, J. 2011, Death and subject on the scene, in Puppeteer 5/2011, 4.11. 2011. ISSN
1211- 4065
13