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One of the puppeteers operating The Big Man - the largest puppet in Scotland. Taken with my phone and a telephoto lens. Fun, but always a little soft in places.
I made a few finger puppets for my little nieces and nephew for Christmas and one of my coworkers mentioned that she liked them. I told her I was toying with the idea of making an advent calendar of finger puppets and she loved the idea so much -- these will be hers.
This morning I read Craft Apple and she was starting a Flickr group for an advent calendar sew-along and I realized I'd found my accountability. I sewed the pig and chicken this morning to join the bat, dog and owl I'd made already.
Now if I can only think of 20 other animals I can create in finger puppet form and come up with a way to number and display them, I'll be all set!
Mark ‘Spoonman’ Petrakis and I are developing a shadow puppet show we call ‘Ubu’s Dreams’.
This short series of sketches stars Père Ubu, the hero of french poet Alfred Jarry’s surreal plays. In this show, Ubu is constantly dreaming, playing with archetypal characters from our collective unconscious.
For this project, we are creating a variety of wooden figures with a laser cutter: big faces, music notes, dancers, trees and graveyards, to name but a few. We then tape our puppets on wooden sticks, and wave them across the stage to bring them to life, with a projector over our heads.
We plan to continue this experiment through the summer and perform a first puppet show during our Dada exhibit at the Canessa Gallery in North Beach, from Nov. 3 to 12, 2016.
I also plan to use some of these techniques with our lower and middle school students, for the Maker Art courses I will be teaching this fall.
From shadow puppets to poetic robots, these interactive storytelling experiments have the potential to engage us at a deeper level and help us learn more about ourselves.
View more pictures of this Magic Theater project on Flickr:
www.flickr.com/photos/fabola/albums/72157664637863884
Learn more about Ubu’s Dreams:
Learn more about the Magic Theater project (originally called Théâtre Mécanique):
If there be a hell upon earth it is to be found in a melancholy man's heart.
(Robert Burton)
Exhibition by www.hetfirmament.be/ at Hingene (Kasteel d'Ursel)
Mark ‘Spoonman’ Petrakis and I are developing a shadow puppet show we call ‘Ubu’s Dreams’.
This short series of sketches stars Père Ubu, the hero of french poet Alfred Jarry’s surreal plays. In this show, Ubu is constantly dreaming, playing with archetypal characters from our collective unconscious.
For this project, we are creating a variety of wooden figures with a laser cutter: big faces, music notes, dancers, trees and graveyards, to name but a few. We then tape our puppets on wooden sticks, and wave them across the stage to bring them to life, with a projector over our heads.
We plan to continue this experiment through the summer and perform a first puppet show during our Dada exhibit at the Canessa Gallery in North Beach, from Nov. 3 to 12, 2016.
I also plan to use some of these techniques with our lower and middle school students, for the Maker Art courses I will be teaching this fall.
From shadow puppets to poetic robots, these interactive storytelling experiments have the potential to engage us at a deeper level and help us learn more about ourselves.
View more pictures of this Magic Theater project on Flickr:
www.flickr.com/photos/fabola/albums/72157664637863884
Learn more about Ubu’s Dreams:
Learn more about the Magic Theater project (originally called Théâtre Mécanique):
The lanterns theme set lighted-up for the Mid-Autumn Festival 2019 celebrations at the Supertree Grove, Gardens by the Bay.
This was taken at an antiques fair at La Bisbal d'Emporda. When on holiday in Spain, we normally spend Saturdays and Sundays foraging amongst the tat and junk of the local car boot sales.
This market was a cut above those with many quality items - most of which were way beyond our price range.
I just liked the fact that this very old Oriental puppet was propped up against a tree waiting for somebody to fall in love with him. I'm not sure anybody did.
“We're all puppets, Laurie. I'm just a puppet who can see the strings.”
― (Alan Moore, Watchmen) ―
Puppet head lamp in a shopwindow somewhere in northwest Oregon.
From a production of "Moth and Moon"- if I recall correctly- by Sandglass Theater of Putney Vermont. Seen on display in a window at the box office for the Puppets In The Green Mountain festival this past weekend. Sandglass is one of my favorite companies in the compelling world of puppetry.
articulatematter.com/comic/2011/black-box-puppets/
Change the species and this was the type of puppetry done in the show last week. We wore all black, including black screens over our faces. The puppet bodies were strapped to our torsos, and we manipulated the arms and head. Generally my puppet's left arm was fastened in place so I could concentrate on moving the head and right hand.
There were a few other puppets (including the crane from Monday and one other human puppet that required three handlers), but this was the main type.
Taken at the Imperial War Museum North today at a Shadow Puppet Animation workshop for the children. What a fabulous time we all had watching, learning, making and sharing.
For over a thousand years, performers in Vietnamese water puppet theater have always gotten cold feet. And very wet.
Water puppetry is performed in a chest-deep pool of water, with the water's surface as a stage. The puppeteers stand behind a curtained backdrop. First performed a thousand years ago on the surface of ponds and paddy fields in Vietnam's Red River Delta, water puppetry (roi nuoc in Vietnamese) is the lively creation of farmers who spent their days in flooded rice fields. At some point, they discovered that the water was an excellent medium for puppetry: it not only concealed the puppeteers' rod and string mechanisms, but it also provided exciting effects like waves and splashes.
The water also provides the best setting for the puppeteers' theme: day-to-day village life. Water puppets bring wry humor to scenes of farming, fishing, festival events such as buffalo fights, and children's games of marbles and coin-toss. Fishing turns into a game of wits between the fisherman and his prey, with the fisherman getting the short end (often capturing his surprised neighbor by mistake). Besides village life, scenes include legends and national history. Lion dogs romp like puppies while dragons exhale smoke and shoot sprays of water at the audience. Performances of up to 18 short scenes are usually introduced by a pig-tailed bumpkin known as Teu, and accompanied by a small folk orchestra.
Mark ‘Spoonman’ Petrakis and I are developing a shadow puppet show we call ‘Ubu’s Dreams’.
This short series of sketches stars Père Ubu, the hero of french poet Alfred Jarry’s surreal plays. In this show, Ubu is constantly dreaming, playing with archetypal characters from our collective unconscious.
For this project, we are creating a variety of wooden figures with a laser cutter: big faces, music notes, dancers, trees and graveyards, to name but a few. We then tape our puppets on wooden sticks, and wave them across the stage to bring them to life, with a projector over our heads.
We plan to continue this experiment through the summer and perform a first puppet show during our Dada exhibit at the Canessa Gallery in North Beach, from Nov. 3 to 12, 2016.
I also plan to use some of these techniques with our lower and middle school students, for the Maker Art courses I will be teaching this fall.
From shadow puppets to poetic robots, these interactive storytelling experiments have the potential to engage us at a deeper level and help us learn more about ourselves.
View more pictures of this Magic Theater project on Flickr:
www.flickr.com/photos/fabola/albums/72157664637863884
Learn more about Ubu’s Dreams:
Learn more about the Magic Theater project (originally called Théâtre Mécanique):
Bjo © 2014 - All rights reserved
New York, April 29th 2014, 9/11 Memorial - Ground Zero
The perfect epilogue of my journey in NYC: visit to Ground Zero.
I don't know if it were for the cold weather, the cloudy sky and the religious silence I've found there, I felt a disquieting quiver inside of me for the whole visit time.
There, 13 years ago, 2.752 people lost their life in what was called "a terroristic attack".
Thus, 13 years ago, 2.752 people were used to justify a war against terrorism.
But, 13 years later, the 2.752 people appear to have died in vain.
Those people who dedicated their life to their country, are now just a big crowded tourist attraction.
There were no identification of responsibles.
There were no criminal trials for those people who allowed this shit to happen.
There were no answers to the questions coming from the relatives of the died people about the big amount of inaccuracies and contradictions related to the 9/11 Commission report
Now I understand where that quiver came from: the concept to be a puppet.
And who's the master?
Bjo