basic construction material for the horse is cane
more sophisicated linking systems as larger more advance object being created - better movements, believeabilty increases.
structurally pleasing
Indonesian wayang golek - simplest form of rod puppets revert back to some of the oldest traditions.
http://en.wikipedia.org/wiki/Wayang#Wayang_golek_.28rod_puppets.29
mechanically complex style - buraku puppet, a type that has become popular in the west in recent years
Handspring Puppet Company was founded in Cape Town in 1981 by Basil Jones and Adrian Kohler. The company's original focus was the creation of new South African plays for children and for the first five years they toured educational shows to primary schools throughout Southern Africa.
http://en.wikipedia.org/wiki/Puppetry
Wednesday, 31 March 2010
the performance
actors animate a material object from the inside out, using there own feelings, bodies and voices to express. Puppeteers must learn to inhabit the material object from the outside in.
Henryk Jurkowski points to this in his definition of puppert theatre as an art in which, "the speaking and performing object makes temporal use of physical sources for its vocal and driving powers, which are present beyond the object". defines the way the puppeteers of Warhorse relate to their object.
Jurkowski, Henryk. 1983. the Transcodification of the signs of puppets. Semiotica 47, 1/4:123-46 Article?
The puppeteer neares the front leads the horse, controlling its head with a rod and using levers to operate the ears. all three make their own noises - including whinnying and snorting.
actors animate a material object from the inside out, using there own feelings, bodies and voices to express. Puppeteers must learn to inhabit the material object from the outside in.
Henryk Jurkowski points to this in his definition of puppert theatre as an art in which, "the speaking and performing object makes temporal use of physical sources for its vocal and driving powers, which are present beyond the object". defines the way the puppeteers of Warhorse relate to their object.
Jurkowski, Henryk. 1983. the Transcodification of the signs of puppets. Semiotica 47, 1/4:123-46 Article?
The puppeteer neares the front leads the horse, controlling its head with a rod and using levers to operate the ears. all three make their own noises - including whinnying and snorting.
Thursday, 18 March 2010
Symposium Shizzle
words spoken in the film:
Frank: 'Give yourself over to absolute pleasure. Swim the warm waters of sins of the flesh - erotic nightmares beyond any measure, and sensual daydreams to treasure forever. Can't you just see it? Don't dream it, be it.' Rocky Horror Picture Show (1975 Film)
key words
http://www.imdb.com/title/tt0073629/keywords
Themes we could discuss:
Surrealism - reflects dream like imagery
Gay Interest
Homicide
sexual discovery - link to Freud
incestuous overtones
scene based on painting
Mad scientist
Artifically created man - link to Frankenstein - romanticism movement
Mary Shelley's novel Frankenstein, and the famous character of Frankenstein's monster have influenced popular culture for at least 100 years. The work has inspired numerous films, television programs, video games and derivative works. The character of the monster remains one of the most recognized icons in horror fiction.
Transvestite - gothic look - link to romanticism - publish source could be the 'Gothic Nightmares book' - link to film is that the characters could of felt they were in a nightmare of this genre.
After first slide say ... "Armed with our publish sources it's time to go back in time to anaylsis the creation of 'The Rocky Horror Picture Show"
Just another thing i read - thought could help us conclude the presentation...
For years, with its phenomenal success as a midnight movie, The Rocky Horror Picture Show has made dont dream it, be it the motto for its ever-growing cult audience. The film continues to be regarded by critics and audiences as the only no-holds-barred, ultimate theatre experience, which has seemingly drawn a repeat audience of cult film followers year after year. More than just a movie, The Rocky Horror Picture Show (RHPS) has become a community, a loud, profane, exuberant collection of cult film freaks freaks: the beautiful, the creative, the lovers and the lost. Despite its first success as a play and then initial failure when produced as a mainstream film, RHPS has become a successful paradigmatic cult classic due to its strange and unusual theatrical exhibition and the films blend of thematic, visual and verbal elements, which parody accepted societal conventions.
Comtemporary example
why certain films (The Rocky Horror Picture Show [1975, Jim Sharman], El Topo [1970, Alejandro Jodorowsky]) were able to achieve cult status as midnight movies and what drives audiences to perform elaborate rituals at film screenings. (play dress up!)contemporary cult film, the notoriously awful The Room (2003, Tommy Wiseau
Beetle juice (1988)
Frank: 'Give yourself over to absolute pleasure. Swim the warm waters of sins of the flesh - erotic nightmares beyond any measure, and sensual daydreams to treasure forever. Can't you just see it? Don't dream it, be it.' Rocky Horror Picture Show (1975 Film)
key words
http://www.imdb.com/title/tt0073629/keywords
Themes we could discuss:
Surrealism - reflects dream like imagery
Gay Interest
Homicide
sexual discovery - link to Freud
incestuous overtones
scene based on painting
Mad scientist
Artifically created man - link to Frankenstein - romanticism movement
Mary Shelley's novel Frankenstein, and the famous character of Frankenstein's monster have influenced popular culture for at least 100 years. The work has inspired numerous films, television programs, video games and derivative works. The character of the monster remains one of the most recognized icons in horror fiction.
Transvestite - gothic look - link to romanticism - publish source could be the 'Gothic Nightmares book' - link to film is that the characters could of felt they were in a nightmare of this genre.
After first slide say ... "Armed with our publish sources it's time to go back in time to anaylsis the creation of 'The Rocky Horror Picture Show"
Just another thing i read - thought could help us conclude the presentation...
For years, with its phenomenal success as a midnight movie, The Rocky Horror Picture Show has made dont dream it, be it the motto for its ever-growing cult audience. The film continues to be regarded by critics and audiences as the only no-holds-barred, ultimate theatre experience, which has seemingly drawn a repeat audience of cult film followers year after year. More than just a movie, The Rocky Horror Picture Show (RHPS) has become a community, a loud, profane, exuberant collection of cult film freaks freaks: the beautiful, the creative, the lovers and the lost. Despite its first success as a play and then initial failure when produced as a mainstream film, RHPS has become a successful paradigmatic cult classic due to its strange and unusual theatrical exhibition and the films blend of thematic, visual and verbal elements, which parody accepted societal conventions.
Comtemporary example
why certain films (The Rocky Horror Picture Show [1975, Jim Sharman], El Topo [1970, Alejandro Jodorowsky]) were able to achieve cult status as midnight movies and what drives audiences to perform elaborate rituals at film screenings. (play dress up!)contemporary cult film, the notoriously awful The Room (2003, Tommy Wiseau
Beetle juice (1988)
Wednesday, 17 March 2010
bit of Freud
Bell, John. (2008). American Puppet Modernism.Palgrave Macmillan : United States of America
Section : Playing With stuff in the material world.
Pg 5 -7
"Performing object theatre neccessiates not only a focal but also an ontological shift from humans (look at the Meyerhold and dance models) to the world of the inanimate materials. this has impliocations for the ego of the performer, forcing us to consider (even unconciously) a world in which humans are not of central importantance." this kind of thinking links Freud's dream theory.
Much of Freud's work is today considered dated or suspect, however there is no denying the influence he has had on modern psychology and personality theory. Even those who reject Freud's theories will usually accept that he has had some influence on the evolution of their own approach.
One of Freud's main themes was the amount of activity that goes on in our minds without our awareness. This resulted in his proposing the now famous model of Ego, SuperEgo, ID.
Freud was fully aware of the importance of dreams and described them as the "royal road" to understanding the unconscious. His most famous work was The Interpretation of Dreams, first published in 1899.
must be part of the reason why we like to imagine object performance as a process of bringing life to the dead objects.
Section : Playing With stuff in the material world.
Pg 5 -7
"Performing object theatre neccessiates not only a focal but also an ontological shift from humans (look at the Meyerhold and dance models) to the world of the inanimate materials. this has impliocations for the ego of the performer, forcing us to consider (even unconciously) a world in which humans are not of central importantance." this kind of thinking links Freud's dream theory.
Much of Freud's work is today considered dated or suspect, however there is no denying the influence he has had on modern psychology and personality theory. Even those who reject Freud's theories will usually accept that he has had some influence on the evolution of their own approach.
One of Freud's main themes was the amount of activity that goes on in our minds without our awareness. This resulted in his proposing the now famous model of Ego, SuperEgo, ID.
Freud was fully aware of the importance of dreams and described them as the "royal road" to understanding the unconscious. His most famous work was The Interpretation of Dreams, first published in 1899.
must be part of the reason why we like to imagine object performance as a process of bringing life to the dead objects.
Thursday, 11 March 2010
Elements in Warhorse
Principles of puppertry have stayed the same through history
despite people's theory, change in perspectives, new ideas, new technologies, the concept has stayed the same throughout the centuries.
Made from a cane frame and stretched fabric, they weigh 66lbs each and are a tough assignment for the three puppeteers working inside them.
The two working towards the back of each frame carry its weight and simulate the basic movements of a horse using levers that make the knees bend or the legs walk.
Related Articles
War Horse is West End hit
Return of the puppet masters
Diary: Ultimate accolade for Ruby Walsh
Thierry Mugler is back after a decade in the fasion wilderness
Barack Obama: The making of America's first black president
Tennessee: a musical pilgrimageThe puppeteer nearest the front leads the horse, controlling its head with a rod and using levers to operate the ears. All three make their own noises -including whinnying and snorting.
The weight of the horses and the constant movement demand extraordinary levels of fitness from the puppeteers, who do an hour of aerobic exercises, press-ups and sit-ups before each performance.
Tommy Luther, 27, who has played the front of Joey and was a national acrobatics champion at 15, said he feels "knackered all over" the day after each performance. "You need upper body strength when ploughing or carrying a rider," he said.
Craig Leo, 38, a former trapeze artist who constantly manipulates Joey's head during performances using levers, said he often wakes with his right hand in a claw because of swollen tendons.
Handspring has invited Harley Street physiotherapists to see how the puppets worked before the production to help make adjustments.
Although the humans operating the horses are clearly visible, Mr Sedgwick believes the directly-controlled puppets are more effective than string marionettes.
He said three puppeteers were needed to convey the emotions of the horses which are the central characters in the play.
He said "The ears were a particular challenge. When a horse is relaxed, its ears point straight up, when it's upset and angry, the ears go back, and when it's listening for a command, it has one ear twisted forward and one back.
"But that's just the start of it. If you're going to convey emotion, you can't just convey it through the ears.
"The whole body has to mirror how the horse is feeling; if it's frightened, it's got to pant – if it's alarmed, its rear quarters need to tense up in that really powerful, muscular way."
There are 22 puppets in total in War Horse, including one very expressive goose.
despite people's theory, change in perspectives, new ideas, new technologies, the concept has stayed the same throughout the centuries.
Made from a cane frame and stretched fabric, they weigh 66lbs each and are a tough assignment for the three puppeteers working inside them.
The two working towards the back of each frame carry its weight and simulate the basic movements of a horse using levers that make the knees bend or the legs walk.
Related Articles
War Horse is West End hit
Return of the puppet masters
Diary: Ultimate accolade for Ruby Walsh
Thierry Mugler is back after a decade in the fasion wilderness
Barack Obama: The making of America's first black president
Tennessee: a musical pilgrimageThe puppeteer nearest the front leads the horse, controlling its head with a rod and using levers to operate the ears. All three make their own noises -including whinnying and snorting.
The weight of the horses and the constant movement demand extraordinary levels of fitness from the puppeteers, who do an hour of aerobic exercises, press-ups and sit-ups before each performance.
Tommy Luther, 27, who has played the front of Joey and was a national acrobatics champion at 15, said he feels "knackered all over" the day after each performance. "You need upper body strength when ploughing or carrying a rider," he said.
Craig Leo, 38, a former trapeze artist who constantly manipulates Joey's head during performances using levers, said he often wakes with his right hand in a claw because of swollen tendons.
Handspring has invited Harley Street physiotherapists to see how the puppets worked before the production to help make adjustments.
Although the humans operating the horses are clearly visible, Mr Sedgwick believes the directly-controlled puppets are more effective than string marionettes.
He said three puppeteers were needed to convey the emotions of the horses which are the central characters in the play.
He said "The ears were a particular challenge. When a horse is relaxed, its ears point straight up, when it's upset and angry, the ears go back, and when it's listening for a command, it has one ear twisted forward and one back.
"But that's just the start of it. If you're going to convey emotion, you can't just convey it through the ears.
"The whole body has to mirror how the horse is feeling; if it's frightened, it's got to pant – if it's alarmed, its rear quarters need to tense up in that really powerful, muscular way."
There are 22 puppets in total in War Horse, including one very expressive goose.
Bicat, Tina: Puppets and Performing object
'nature of a puppet is impassive’ Bicat, tina. The conventions of puppet theatre. Pg 15. Line 4. Puppets and Performing object. The Crowood Press: Wiltshire 2007
....
'puppets are adept at showing the audience the complex inner worlds of the human mind'
....
'it is difficult to find the reson why some scripts work with puppets and others do not. it seems to have something to do with a certain clarity in the emotions. Puppets and objects, a step away from their animators, divulge an uncluttered message.their sould may be tortmented and their natures complex, but they have to send a pure, unfuzzy message of their emotional turmoil or the audience will not interpret theiur feelings with certainty. the triangle of object, animator and audience needs to be clear or the audience loses confidence in its interpretation of the action and disengages its commitment to the work. ' scripts and stimuli section. Pg 47 Paragraph 3
Link to romantic idea? how they wanted to capture audiences? and how they managed it?
....
'puppets are adept at showing the audience the complex inner worlds of the human mind'
....
'it is difficult to find the reson why some scripts work with puppets and others do not. it seems to have something to do with a certain clarity in the emotions. Puppets and objects, a step away from their animators, divulge an uncluttered message.their sould may be tortmented and their natures complex, but they have to send a pure, unfuzzy message of their emotional turmoil or the audience will not interpret theiur feelings with certainty. the triangle of object, animator and audience needs to be clear or the audience loses confidence in its interpretation of the action and disengages its commitment to the work. ' scripts and stimuli section. Pg 47 Paragraph 3
Link to romantic idea? how they wanted to capture audiences? and how they managed it?
Expressionism/ Romantism Quotes
"in keeping with an expressive aesthetics, the primary object of art was to arouse man's sensibility, to excite, enrich and enoble his passions and susceptibilities"
Wiedmann, August. Romantic roots in modern art: 1979 The Gresham Press : Surrey England. Pg 79 Expressionism and Aesthetics of Inwardness
Relates why warhorse worked so well??
....
"In Expressionism generally a marked visionary mentality was instinctively opposed to any realistic and naturalistic tendencies in poetry and art." pg 82: line 6-8
Wiedmann, August. Romantic roots in modern art: 1979 The Gresham Press : Surrey England.Expressionism and Aesthetics of Inwardness
....
"What mattered was not the external object as but the artist’s emotional response to it, the pictorial and poetic instinct it aroused him in" Wiedmann, August. Romantic roots in modern art: 1979 The Gresham Press : Surrey England. Pg 83 : Line 8Expressionism and Aesthetics of Inwardness
Instinct of Warhorse??
Wiedmann, August. Romantic roots in modern art: 1979 The Gresham Press : Surrey England. Pg 79 Expressionism and Aesthetics of Inwardness
Relates why warhorse worked so well??
....
"In Expressionism generally a marked visionary mentality was instinctively opposed to any realistic and naturalistic tendencies in poetry and art." pg 82: line 6-8
Wiedmann, August. Romantic roots in modern art: 1979 The Gresham Press : Surrey England.Expressionism and Aesthetics of Inwardness
....
"What mattered was not the external object as but the artist’s emotional response to it, the pictorial and poetic instinct it aroused him in" Wiedmann, August. Romantic roots in modern art: 1979 The Gresham Press : Surrey England. Pg 83 : Line 8Expressionism and Aesthetics of Inwardness
Instinct of Warhorse??
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