NAVIGATION
SOCIAL
CONTACT
e-mail: info@theworldthroughwoodeneyes.co.uk
The
puppet
theatre
is
a
specific
form
of
theatre
that
has
a
clear
purpose
and
identity
and
it
is
the
first
visual
impact
of
the
puppet
theatre
that
is
strongest,
it
is
often
referred
to
as
the
‘designers’
theatre’.
Design
for
the
puppet
theatre
is
more
complex
than
for
the
drama
theatre.
The
word
frequently
used
for
design
in
the
puppet
theatre
is
‘scenography’,
sceno
–
graphika.
It
is,
basically,
a
term
used
for
the
visualisation
and
physicalisation
of
an
idea,
or
text,
in
a
performance
space,
and
the
interplay
of
movement,
time,
space,
light
and
sound,
and,
of
course,
the
audience
as
collaborator.
Usually
the
nonverbal
aspect
of
the
production.
The
design
project
is
essential
to
identify and organise a unified visual style.
The
creative
puppet
theatre
offers
greater
freedom
for
the
designer.
We
often
refer
to
scenic
action
where
both
puppets
and
scenery
move
as
much
as
each
other,
When
the
creative
puppet
theatre
produces
works
that
combine
puppets,
actors,
masks,
dance
and
mime
a
far
greater
understanding
of
the
role
and
function
of
the
various
disciplines
and
there
effective
combination
in
a
production
technique
where
careful
consideration
of
a
single
convention,
and
the
avoidance
mixed
conventions
that
can
destroy
the
overall
balance of a production.
The
designer
in
the
puppet
theatre
has
an
additional
responsibility.
The
actor/performer
in
the
puppet
theatre
uses
the
puppet
or
object
to
express
dramatic
ideas,
their
bodies
are
not
the
means
of
expression,
the
dramatic
expression
takes
place
elsewhere,
away
from
the
physical
being.
Therefore,
the
designer
must
develop
an
awareness
of
the
needs
of
the
actor/performer
in
terms
of
a
greater
understanding
of
the
technical
construction,
and
the
need
to
ensure
that
weight
and
other
technical
details
do
not
detract
from
the
focus
and
concentration
of
the
actor/performer
in
delivering
a
meaningful
performance.
Ideally
the
designer
should
have
some
experience
of
moving
the
puppet
and
movement styles to enable them to fully understand the work of the performer.
Most
puppet
theatre
productions
lack
design,
and
rarely
have
an
understanding
of
the
dynamics
of
space,
both
that
of
the
performance
and
audience,
and
the
creation
of
a
synthesis
of
creative
links,
tensions
and
dynamics
between
them.
Each
design
project
should
ensure
that
a
specific
space
is
created
for
each
production,
and
should
remain
consistent
wherever the performance is presented.
John Blundall.
2010.
Design or
Scenography
CONTACT
e-mail: info@theworldthroughwoodeneyes.co.uk
SOCIAL
The
puppet
theatre
is
a
specific
form
of
theatre
that
has
a
clear
purpose
and
identity
and
it
is
the
first
visual
impact
of
the
puppet
theatre
that
is
strongest,
it
is
often
referred
to
as
the
‘designers’
theatre’.
Design
for
the
puppet
theatre
is
more
complex
than
for
the
drama
theatre.
The
word
frequently
used
for
design
in
the
puppet
theatre
is
‘scenography’,
sceno
–
graphika.
It
is,
basically,
a
term
used
for
the
visualisation
and
physicalisation
of
an
idea,
or
text,
in
a
performance
space,
and
the
interplay
of
movement,
time,
space,
light
and
sound,
and,
of
course,
the
audience
as
collaborator.
Usually
the
nonverbal
aspect
of
the
production.
The
design
project
is
essential
to
identify
and
organise a unified visual style.
The
creative
puppet
theatre
offers
greater
freedom
for
the
designer.
We
often
refer
to
scenic
action
where
both
puppets
and
scenery
move
as
much
as
each
other,
When
the
creative
puppet
theatre
produces
works
that
combine
puppets,
actors,
masks,
dance
and
mime
a
far
greater
understanding
of
the
role
and
function
of
the
various
disciplines
and
there
effective
combination
in
a
production
technique
where
careful
consideration
of
a
single
convention,
and
the
avoidance
mixed
conventions
that
can
destroy the overall balance of a production.
The
designer
in
the
puppet
theatre
has
an
additional
responsibility.
The
actor/performer
in
the
puppet
theatre
uses
the
puppet
or
object
to
express
dramatic
ideas,
their
bodies
are
not
the
means
of
expression,
the
dramatic
expression
takes
place
elsewhere,
away
from
the
physical
being.
Therefore,
the
designer
must
develop
an
awareness
of
the
needs
of
the
actor/performer
in
terms
of
a
greater
understanding
of
the
technical
construction,
and
the
need
to
ensure
that
weight
and
other
technical
details
do
not
detract
from
the
focus
and
concentration
of
the
actor/performer
in
delivering
a
meaningful
performance.
Ideally
the
designer
should
have
some
experience
of
moving
the
puppet
and
movement
styles
to
enable
them
to
fully
understand the work of the performer.
Most
puppet
theatre
productions
lack
design,
and
rarely
have
an
understanding
of
the
dynamics
of
space,
both
that
of
the
performance
and
audience,
and
the
creation
of
a
synthesis
of
creative
links,
tensions
and
dynamics
between
them.
Each
design
project
should
ensure
that
a
specific
space
is
created
for
each
production,
and
should
remain
consistent
wherever
the
performance is presented.
John Blundall.
2010.
Design or
Scenography
