Difference between revisions of "AY Honors/Puppetry/Answer Key"

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{{Redirect|Sockpuppets|the term relating to the Internet|Sockpuppet (Internet)}}
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A '''hand puppet''' (also called a '''glove puppet''') <ref> Logan, D, ''Puppetry'', p.15</ref> is a type of [[puppet]] that is controlled by the hand or hands that occupies the interior of the puppet. <ref> Sinclair, A, ''The Puppetry Handbook'', p.15</ref> Glove puppets are a variation of hand puppets. Rod puppets require one of the puppeteer's hands inside the puppet glove holding a rod which controls the head, and the puppet's body then hangs over most or all of the forearm of the puppeteer, and possibly extends further.  Other parts of the puppet may be controlled by different means, e.g., by rods operated by the puppeteer's free hand, or strings or levers pulled from inside the head or body. A smaller variety, '''simple hand puppets''' often have no significant manipulable parts at all. '''Finger puppets''' are not hand puppets as they are used only on a finger. <ref> Logan, D, ''Puppetry'', p.14</ref>
−
A '''sock puppet''' is a [[puppet]] made from a [[sock]] (or similar garment) which is placed over the hand of a [[puppeteer]]. When the manipulator fits a hand into the closed end of the sock, the puppet can be seemingly made to "talk" by opening and closing the hand. The puppet's mouth is formed by the region between the sock's heel and toe, with the puppeteer's thumb forming a jaw. At a minimum the shape of the hand will instantly form the shape of a mouth, but sometimes the mouth is padded by putting in a fairly hard piece of felt (often with a tongue glued inside). Sometimes the region between the toe and heel is cut open with scissors to form a mouth.
 
  
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[[Image:Sockcat.jpg|thumb|200px|Sock puppet]]
+
== Simple hand puppets ==
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The sock is stretched out fully so that it is long enough to cover the puppeteer's wrist and part of the arm. Often, but not always, the puppeteer will hide behind a stand and raise up his or her hand above the stand so that only the puppet is visible. Many sock puppeteers, however, stand in full view along with their puppets and will hold conversations with their own sock puppets, using [[ventriloquism]].
 
  
−
==Composition==
+
[[Image:Simple hand puppet.jpg|right|200px|thumb|Simple toy dog hand puppet.]]
  
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Sock puppets can be made from socks or [[stocking]]s of any colour. Worn-out socks may be used, although socks that are too tattered may fall apart during performance, but socks are usually bought brand-new from the store in order to make sock puppets. Various additions can be glued on in order to give the sock a personality. Streamers and felt strings are popularly glued on for hair. Buttons are sewn on or [[Googly eyes]] (obtained from craft or fabric stores) are glued on for the puppet's eyes. Sometimes clothes can be added, but this is not frequently seen.
+
The simplest hand puppets are those with few or no moving parts.  They can be stiff, made from e.g. a hard [[plastic]], but are more often flexible, made from [[Textile|fabric]], possibly with some stuffing and attached decorations for eyes, nose, and so on. The mouth may be a mere decoration that does not open and close, or the thumb may enter a separate pocket from the rest of the fabric and so simulate a [[mandible]], allowing the puppet to talk.
  
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==Uses==
+
Simple hand puppets are usually not much larger than the hand itself. A [[sock puppet]] is a particularly simple type of hand puppet made from a sock. A '''glove puppet''' is slightly more complex, with an internal division for fingers allowing independent manipulation of a character's arms. The uncostumed hand of the puppeteer is usually concealed from the audience to maintain the illusion of the puppet.  
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As sock puppets appear friendly, non-threatening, and clearly non-human, therapists often have their  child patients use sock puppets to help them talk more freely about things. For the same reasons, and because oneself and one's sock puppet often feel like two different people, one can speak through a sock puppet to express thoughts or facets of one's personality that one would not feel free to admit in person or fears would harm one's reputation were they actually said in one's own person.  
 
  
−
Sock puppets are often used for the education and entertainment of children. They can be used in often elaborate puppet shows or children's plays, much as [[marionette]]s would be used. The process of making sock puppets is popularly taught as a creative activity in elementary schools. Many schools teach children to make sock puppets and then have the children put on shows or plays for the whole school with them, sometimes with all the sock puppets singing.
+
Simple hand puppets, especially popular [[licensed character]]s, are sometimes distributed as children's [[toy]]s or [[party favor]]s. Children usually like to experiment in play with a puppet creating voices and movements and in many cases staging a strictly private performance.
  
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Sock puppets also appear in children's television shows where they can be used alone on the puppeteer's hand, without a complex stage or show. Two [[orange (colour)|orange]] sock puppets named "Fu" and "Fara" are used in teaching German children how to read.<ref>see the German Wikipedia page [[:de:Fu (Schule)|Fu]] for more information.</ref>  In the United States, sock puppeteer [[Shari Lewis]] was well known for her television show ''[[Lamb Chop's Play-Along]]'' featuring the sock puppets Lamb Chop, Charlie Horse, and Hush Puppy.
+
== Rod Puppets ==
  
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Sock puppets have also been used in television programming aimed at adults.  The 1990s saw the introduction of the [[Ed the Sock]] character on the [[MuchMusic]] video network, and the ''[[Sifl and Olly]]'' show on the [[MTV]] music network.  Both of these were aimed at teenagers and young adults. Sock puppets have also appeared in [[advertising]] geared towards adults. During the late 1990s, the [[ecommerce]] company [[Pets.com]] used a "spokespuppet" in its advertising to much critical acclaim.<ref>[http://www.internetworld.com/magazine.php?inc=121500/12.15.00fastforward2.html Internet World Magazine :: Internet World<!-- Bot generated title -->]</ref> The Pets.com puppet was given a "second chance" by 1-800-BarNone, which helps consumers obtain financing for autos. <ref>[http://www.barnoneonline.com/sock-puppet.html Sock Puppet | BarNone Auto Financing<!-- Bot generated title -->]</ref>
+
[[Image:Guiermo-rods-50pct.png|right|331px|thumb|A [[rod puppet]] with typical rods to control the arms.]]
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In 2003 the online bank [[Egg Banking plc|Egg]] also used sock puppets in its advertising campaign.<!-- Image with unknown copyright status removed: [[Image:mickfoley_main.jpg|thumb|200px|Mick Foley as Mankind, with Mr. Socko]] -->
 
  
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The professional wrestler [[Mick Foley]] has long used a sock puppet by the name of Mr. Socko as an aid in his finishing maneouvre, a nerve hold called the Mandible Claw (or Socko Claw), which is usually preceded by Foley theatrically pulling the sock from somewhere on his person. On [[World Wrestling Entertainment]]'s [[Raw]] programme, this has traditionally been a cue for commentator [[Jerry Lawler]] to complain about "that stinking, sweaty sock!" Mr. Socko has often served as a sidekick for Foley's [[Mankind]] character, having been introduced to the world during a skit on WWE television as a means of "cheering up" WWE owner [[Vince McMahon]], who had just been beaten by nemesis [[Stone Cold Steve Austin]]<ref>[http://www.youtube.com/watch?v=hPp7VRFg2wc| YouTube video of Mr. Socko's debut]</ref>. The sock puppet unexpectedly became a hit with wrestling fans, garnering chants from a crowd of 10,000 plus at the following week's program.
+
A rod puppet is manipulated with wooden or wire rods. <ref> Sinclair, A, ''The Puppetry Handbook, p.15 </ref> Rod puppets can sometimes have a complete working hinged mouth. Many do not. A rod puppet can have a fixed facial expression. Arms are usually a requirement as rods are attached to them. A fish rod puppet could have a rod attached to the tail to manipulate this section of the puppet. Sometimes special variants exist with additional manipulable parts: (e.g., eyelids that open and close). Many rod puppets depict only the upper half of the character, from the waist up, with the stage covering the missing remainder, but variations sometimes have legs. The legs usually just dangle, but in special cases the legs may be controlled either from behind the stage using rods from below. fuck you.
  
−
==Notes==
+
== Technique ==
 +
=== Basic Positioning ===
 +
 
 +
As with any stage performer, the puppet should generally face the audience; it may turn to one side or the other. There are times when a puppet does turn its back to an audience just like an actor. Puppets generally should look out towards an audience and not up at the ceiling unless they wish an audience to follow their line of vision. Generally a hand or glove puppet should talk a lot. <ref> Sinclair, A, ''The Puppetry Handbook'', p.15</ref> 
 +
 
 +
Since the puppet stage is normally positioned higher than the seated audience (in order to best hide the puppeteers and allow for the puppet to be the focus of the audience), the puppet should be able to lean forward slightly with its head tilted sometimes down, in order to make eye contact with the audience.  A puppet that fails to do this can appear to be staring over the heads of the audience. A puppet that looks at the ceiling sends of the signal that it is not interested in the audience.
 +
 
 +
Vertically, the puppet should be kept elevated, with its shoulders well above the stage.  Ideally, most of the puppet's torso should be kept visible to the audience at all times. 
 +
 
 +
This is to the manner in which the puppet's mouth opens and closes in order to appear to form words or sounds, similar to [[lip sync]]ing. The puppet's lower jaw ([[mandible]]) should open downward, with the upper jaw, which is usually contiguous with the rest of the head, not raising much.  This mimics the way the [[human]] mouth works.  Puppets of course are not human and have all manner of moving their mouths. They can make facial movements no human can possibly attempt.
 +
 
 +
The basic mainstay of diction for most puppeteers is ''syllabic diction'', i.e., opening the puppet's mouth once for each syllable, closing it at the end of the syllable.  Another common novice mistake is to reverse this, closing the mouth on each syllable, which makes it look as if the puppet is biting off its words; this effect should be carefully avoided.
 +
 
 +
When the puppet must speak very rapidly, a variant on syllabic diction may be used where some syllables are omitted.  It is important to open the puppet's mouth for the first and last syllables as well as all long or emphasized syllables, but most audiences will not notice if some of the unimportant syllables are omitted, provided it happens fairly quickly.  As the puppet's speech (or song lyrics) slows down, it becomes more and more important to include every syllable.
 +
 
 +
More advanced forms of diction are possible.  Ultimately the experienced puppeteer will master ''phonetic diction'', in which the degree to which the puppet's mouth is open at any given point mimics the motion of the human mouth forming the same series of [[phoneme|sounds]]; thus, the mouth will be open wide for a long O vowel, briefly close almost completely when forming a [[dental consonant|dental]] [[plosive consonant|stop]], and so on and so forth.
 +
 
 +
=== Arm Rods ===
 +
 
 +
A rod puppet's arms are controlled by the puppeteer's free hand via rods, which attach to the insides of the puppet's wrists in some orderly fashion.
 +
 
 +
=== Body Movements ===
 +
 
 +
One of the most important techniques in puppetry is continuous motion.  A puppet that remains still has a dull, lifeless appearance and is said to be ''dead''.  Motion should shift from one portion of the puppet to another, so that one moment the puppet is moving its head and the next moment shifting its torso or repositioning an arm.  The puppet may shift from side to side, look around, lean or straighten, fidget (with part of the stage, its own clothing or hair, or any available object), cross or uncross its arms, sigh, tilt its head, or make any number of other small motions, in order to continue to appear lifelike. A puppet should however not move when another puppet is speaking. To do so confuses an audience as to which particular puppet is speaking at any given time. Maintaining clear focus for an audience in a puppet performance is extremely important.
 +
 
 +
==References==
 
<references/>
 
<references/>
 +
 +
==Books and Articles==
 +
*{{cite book
 +
  | last = Baird
 +
  | first = Bil
 +
  | authorlink = Bil Baird
 +
  | coauthors =
 +
  | title = The Art of the Puppet
 +
  | publisher = Plays
 +
  | date= [[1966]]
 +
  | location =
 +
  | id= ISBN 10 0823800679 }}
 +
*{{cite book
 +
  | last = Beaton 
 +
  | first = Mabel
 +
  | authorlink = Mabel Beaton
 +
  | coauthors = Les Beaton
 +
  | title = Marionettes: A Hobby for Everyone
 +
  | publisher =
 +
  | date= [[1948]]
 +
  | location = New York
 +
  | id=}}
 +
*{{cite book
 +
  | last = Bell
 +
  | first = John
 +
  | authorlink = John Bell
 +
  | coauthors =
 +
  | title = Shadows: A Modern Puppet History
 +
  | publisher = Detroit Institute of Art
 +
  | date= [[2000]]
 +
  | location = Detroit, USA
 +
  | id= ISBN 0 89558 156 6 }}
 +
*{{cite book
 +
  | last = Binyon
 +
  | first = Helen
 +
  | authorlink = Helen Binyon
 +
  | coauthors =
 +
  | title = Puppetry Today
 +
  | publisher = Studio Vista Limited
 +
  | date= [[1966]]
 +
  | location = London
 +
  | id=}}
 +
*{{cite book
 +
  | last = Choe
 +
  | first = Sang-su
 +
  | authorlink = Choe Sang-su
 +
  | coauthors =
 +
  | title = A Study of the Korean Puppet Play
 +
  | publisher = The Korean Books Publishing Company Ltd.
 +
  | date= [[1961]]
 +
  | location =
 +
  | id= }}
 +
*{{cite book
 +
  | last = Currell
 +
  | first = David
 +
  | authorlink = David Currell
 +
  | coauthors =
 +
  | title = An Introduction to Puppets and Puppetmaking
 +
  | publisher = New Burlington Books, Quintet Publishing Limited
 +
  | date= [[1992]]
 +
  | location = London
 +
  | id= ISBN 1 85348 389 3 }}
 +
*{{cite book
 +
  | last = Dubska
 +
  | first = Alice
 +
  | authorlink = Alice Dubska
 +
  | coauthors = Jan Novak, Nina Malikova, Marie Zdenkova
 +
  | title = Czech Puppet Theatre
 +
  | publisher = Theatre Institute
 +
  | date= [[2006]]
 +
  | location = Prague
 +
  | id= ISBN 80 7008 199 6}}
 +
*{{cite book
 +
  | last = Dugan
 +
  | first = E.A.
 +
  | authorlink = E.A. Dugan
 +
  | coauthors =
 +
  | title = Emotions in Motion
 +
  | publisher = Galerie Amrad
 +
  | date= [[1990]]
 +
  | location = Montreal, Canada
 +
  | id= ISBN 0 9693081 5 9 }}
 +
*{{cite book
 +
  | last = Feeney
 +
  | first = John
 +
  | authorlink = John Feeney
 +
  | coauthors =
 +
  | title = Puppet
 +
  | publisher = Saudi Aramco World
 +
  | date= [[1999]]
 +
  | location =
 +
  | id= }}
 +
*{{cite book
 +
  | last = Funni
 +
  | first = Arthur
 +
  | authorlink = Arthur Funni
 +
  | coauthors =
 +
  | title = The Radio Years of Bergen and McCarthy (Thesis)
 +
  | publisher = 
 +
  | date= [[2000]]
 +
  | location = The Margaret Herrick Library
 +
  | id= }}
 +
*{{cite book
 +
  | last = Hayali
 +
  | first = Mustafa Mutlu
 +
  | authorlink = Mustafa Mutlu Hayali
 +
  | coauthors =
 +
  | title = Tradition Folk The Site
 +
  | publisher = Theatre Department, Ankara University Faculty of Language, History and Geography
 +
  | date=
 +
  | location = Ankara, Turkey
 +
  | id= }}
 +
*{{cite book
 +
  | last = Latshaw
 +
  | first = George
 +
  | authorlink = George Latshaw
 +
  | coauthors =
 +
  | title = The Complete Book of Puppetry 
 +
  | publisher = Dover Publications
 +
  | date= [[2000]]
 +
  | location = London
 +
  | id= ISBN 978-048640-952-8 }}
 +
*{{cite book
 +
  | last = Lindsay
 +
  | first = Hilaire
 +
  | authorlink = Hilaire Lindsay
 +
  | coauthors =
 +
  | title = The First Puppet Book
 +
  | publisher = Ansay Pty Ltd
 +
  | date= [[1976]]
 +
  | location = Leichardt, NSW, Australia
 +
  | id= ISBN 0 909245}}
 +
*{{cite book
 +
  | last = Logan
 +
  | first = David
 +
  | authorlink = David Logan
 +
  | coauthors =
 +
  | title = Puppetry
 +
  | publisher = Brisbane Dramatic Arts Company
 +
  | date= [[2007]]
 +
  | location = Brisbane, Queensland, Australia
 +
  | id= ISBN 9780980456301}}
 +
*{{cite book
 +
  | last = Morton, Brenda
 +
  | first = Brenda
 +
  | authorlink = Brenda Morton
 +
  | coauthors =
 +
  | title = Sleeve Puppets
 +
  | publisher = Faber and Faber
 +
  | date= [[1978]]
 +
  | location = London
 +
  | id= ISBN 0-571-11145-9}}
 +
*{{cite book
 +
  | last = Robinson
 +
  | first = Stuart
 +
  | authorlink = Stuart Robertson
 +
  | coauthors = Patricia Robertson
 +
  | title = Exploring Puppetry
 +
  | publisher = Mills & Boon Limited
 +
  | date= [[1967]]
 +
  | location = London
 +
  | id=}}
 +
*{{cite book
 +
  | last = Sinclair
 +
  | first = Anita
 +
  | authorlink = Anita Sinclair
 +
  | coauthors =
 +
  | title = The Puppetry Handbook 
 +
  | publisher = Richard Lee Publishing
 +
  | date= [[1995]]
 +
  | location = Richmond, Victoria, Australia
 +
  | id= ISBN 0 646 39063 5 }}
 +
*{{cite book
 +
  | last = Suib
 +
  | first = Leonard
 +
  | authorlink = Leonard Suib
 +
  | coauthors = Muriel Broadman
 +
  | title = Marionettes Onstage!
 +
  | publisher = Harper & Row, Publishers
 +
  | date= [[1975]]
 +
  | location = New York
 +
  | id= ISBN 0 06 014166 2 }}
 +
*{{cite news
 +
  | last =
 +
  | coauthors =
 +
  | title = Wayland Flowers Dies: Ventriloquist Was 48
 +
  | publisher =The New York Times
 +
  | date =[[October 12]] [[1988]]
 +
  | url =http://query.nytimes.com/gst/fullpage.html?res=940DEFD71F3FF931A25753C1A96E948260
 +
  | accessdate =2006-12-30 }}
  
−
{{Commons|Sock puppet}}
+
==External links==
 +
* [http://www.puppetrylab.com PuppetryLab] - Advanced puppetry theory and practice tools
 +
* [http://www.hand-puppets.info Hand Puppets] - A variety of links and information about building hand puppets.
 +
* [http://www.101handpuppets.com/ 101 Hand Puppets] - A guide for puppeteers of all ages
 +
* [http://www.puppetools.com  Puppetools] - An Online Workshop for Educators Focused on Play Language
  
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[[Category:Dolls]]
+
[[Category:Puppetry]]
−
[[Category:Puppets]]
 
  
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[[ar:دمية جورب]]
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[[it:Teatro dei burattini]]
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[[bs:Čaraparko]]
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[[pl:Pacynka]]
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[[de:Handpuppe]]
 
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[[eo:Gantpupo]]
 
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[[hr:Čarapko]]
 
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[[nl:Sokpop]]
 
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[[ja:ソックパペット]]
 
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[[no:Sokkedukke]]
 
−
[[simple:Sock puppet]]
 

Revision as of 07:35, 6 August 2008

A hand puppet (also called a glove puppet) & is a type of puppet that is controlled by the hand or hands that occupies the interior of the puppet. & Glove puppets are a variation of hand puppets. Rod puppets require one of the puppeteer's hands inside the puppet glove holding a rod which controls the head, and the puppet's body then hangs over most or all of the forearm of the puppeteer, and possibly extends further. Other parts of the puppet may be controlled by different means, e.g., by rods operated by the puppeteer's free hand, or strings or levers pulled from inside the head or body. A smaller variety, simple hand puppets often have no significant manipulable parts at all. Finger puppets are not hand puppets as they are used only on a finger. &

Simple hand puppets

Simple toy dog hand puppet.

The simplest hand puppets are those with few or no moving parts. They can be stiff, made from e.g. a hard plastic, but are more often flexible, made from fabric, possibly with some stuffing and attached decorations for eyes, nose, and so on. The mouth may be a mere decoration that does not open and close, or the thumb may enter a separate pocket from the rest of the fabric and so simulate a mandible, allowing the puppet to talk.

Simple hand puppets are usually not much larger than the hand itself. A sock puppet is a particularly simple type of hand puppet made from a sock. A glove puppet is slightly more complex, with an internal division for fingers allowing independent manipulation of a character's arms. The uncostumed hand of the puppeteer is usually concealed from the audience to maintain the illusion of the puppet.

Simple hand puppets, especially popular licensed characters, are sometimes distributed as children's toys or party favors. Children usually like to experiment in play with a puppet creating voices and movements and in many cases staging a strictly private performance.

Rod Puppets

A rod puppet with typical rods to control the arms.

A rod puppet is manipulated with wooden or wire rods. & Rod puppets can sometimes have a complete working hinged mouth. Many do not. A rod puppet can have a fixed facial expression. Arms are usually a requirement as rods are attached to them. A fish rod puppet could have a rod attached to the tail to manipulate this section of the puppet. Sometimes special variants exist with additional manipulable parts: (e.g., eyelids that open and close). Many rod puppets depict only the upper half of the character, from the waist up, with the stage covering the missing remainder, but variations sometimes have legs. The legs usually just dangle, but in special cases the legs may be controlled either from behind the stage using rods from below. fuck you.

Technique

Basic Positioning

As with any stage performer, the puppet should generally face the audience; it may turn to one side or the other. There are times when a puppet does turn its back to an audience just like an actor. Puppets generally should look out towards an audience and not up at the ceiling unless they wish an audience to follow their line of vision. Generally a hand or glove puppet should talk a lot. &

Since the puppet stage is normally positioned higher than the seated audience (in order to best hide the puppeteers and allow for the puppet to be the focus of the audience), the puppet should be able to lean forward slightly with its head tilted sometimes down, in order to make eye contact with the audience. A puppet that fails to do this can appear to be staring over the heads of the audience. A puppet that looks at the ceiling sends of the signal that it is not interested in the audience.

Vertically, the puppet should be kept elevated, with its shoulders well above the stage. Ideally, most of the puppet's torso should be kept visible to the audience at all times.

This is to the manner in which the puppet's mouth opens and closes in order to appear to form words or sounds, similar to lip syncing. The puppet's lower jaw (mandible) should open downward, with the upper jaw, which is usually contiguous with the rest of the head, not raising much. This mimics the way the human mouth works. Puppets of course are not human and have all manner of moving their mouths. They can make facial movements no human can possibly attempt.

The basic mainstay of diction for most puppeteers is syllabic diction, i.e., opening the puppet's mouth once for each syllable, closing it at the end of the syllable. Another common novice mistake is to reverse this, closing the mouth on each syllable, which makes it look as if the puppet is biting off its words; this effect should be carefully avoided.

When the puppet must speak very rapidly, a variant on syllabic diction may be used where some syllables are omitted. It is important to open the puppet's mouth for the first and last syllables as well as all long or emphasized syllables, but most audiences will not notice if some of the unimportant syllables are omitted, provided it happens fairly quickly. As the puppet's speech (or song lyrics) slows down, it becomes more and more important to include every syllable.

More advanced forms of diction are possible. Ultimately the experienced puppeteer will master phonetic diction, in which the degree to which the puppet's mouth is open at any given point mimics the motion of the human mouth forming the same series of sounds; thus, the mouth will be open wide for a long O vowel, briefly close almost completely when forming a dental stop, and so on and so forth.

Arm Rods

A rod puppet's arms are controlled by the puppeteer's free hand via rods, which attach to the insides of the puppet's wrists in some orderly fashion.

Body Movements

One of the most important techniques in puppetry is continuous motion. A puppet that remains still has a dull, lifeless appearance and is said to be dead. Motion should shift from one portion of the puppet to another, so that one moment the puppet is moving its head and the next moment shifting its torso or repositioning an arm. The puppet may shift from side to side, look around, lean or straighten, fidget (with part of the stage, its own clothing or hair, or any available object), cross or uncross its arms, sigh, tilt its head, or make any number of other small motions, in order to continue to appear lifelike. A puppet should however not move when another puppet is speaking. To do so confuses an audience as to which particular puppet is speaking at any given time. Maintaining clear focus for an audience in a puppet performance is extremely important.

References

  1. ↑ Logan, D, Puppetry, p.15
  2. ↑ Sinclair, A, The Puppetry Handbook, p.15
  3. ↑ Logan, D, Puppetry, p.14
  4. ↑ Sinclair, A, The Puppetry Handbook, p.15
  5. ↑ Sinclair, A, The Puppetry Handbook, p.15

Books and Articles

  • Baird, Bil (1966). The Art of the Puppet. Plays. ISBN 10 0823800679.
  • Beaton, Mabel; Les Beaton (1948). Marionettes: A Hobby for Everyone. New York.
  • Bell, John (2000). Shadows: A Modern Puppet History. Detroit, USA: Detroit Institute of Art. ISBN 0 89558 156 6.
  • Binyon, Helen (1966). Puppetry Today. London: Studio Vista Limited.
  • Choe, Sang-su (1961). A Study of the Korean Puppet Play. The Korean Books Publishing Company Ltd..
  • Currell, David (1992). An Introduction to Puppets and Puppetmaking. London: New Burlington Books, Quintet Publishing Limited. ISBN 1 85348 389 3.
  • Dubska, Alice; Jan Novak, Nina Malikova, Marie Zdenkova (2006). Czech Puppet Theatre. Prague: Theatre Institute. ISBN 80 7008 199 6.
  • Dugan, E.A. (1990). Emotions in Motion. Montreal, Canada: Galerie Amrad. ISBN 0 9693081 5 9.
  • Feeney, John (1999). Puppet. Saudi Aramco World.
  • Funni, Arthur (2000). The Radio Years of Bergen and McCarthy (Thesis). The Margaret Herrick Library.
  • Hayali, Mustafa Mutlu. Tradition Folk The Site. Ankara, Turkey: Theatre Department, Ankara University Faculty of Language, History and Geography.
  • Latshaw, George (2000). The Complete Book of Puppetry. London: Dover Publications. ISBN 978-048640-952-8.
  • Lindsay, Hilaire (1976). The First Puppet Book. Leichardt, NSW, Australia: Ansay Pty Ltd. ISBN 0 909245.
  • Logan, David (2007). Puppetry. Brisbane, Queensland, Australia: Brisbane Dramatic Arts Company. ISBN 9780980456301.
  • Morton, Brenda, Brenda (1978). Sleeve Puppets. London: Faber and Faber. ISBN 0-571-11145-9.
  • Robinson, Stuart; Patricia Robertson (1967). Exploring Puppetry. London: Mills & Boon Limited.
  • Sinclair, Anita (1995). The Puppetry Handbook. Richmond, Victoria, Australia: Richard Lee Publishing. ISBN 0 646 39063 5.
  • Suib, Leonard; Muriel Broadman (1975). Marionettes Onstage!. New York: Harper & Row, Publishers. ISBN 0 06 014166 2.
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External links

  • PuppetryLab - Advanced puppetry theory and practice tools
  • Hand Puppets - A variety of links and information about building hand puppets.
  • 101 Hand Puppets - A guide for puppeteers of all ages
  • Puppetools - An Online Workshop for Educators Focused on Play Language

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