This anthology of essays aims to explore the many types of relationships that exist between puppets, broadly speaking, and the immaterial world.

The allure of the puppet goes beyond its material presence as, historically and throughout the globe, many uses of puppets and related objects have expressed and capitalized on their posited connections to other realms or ability to serve as vessels or conduits for immaterial presence. The flip side of the puppet’s troubling uncanniness is precisely the possibilities it represents for connecting to discarnate realities. Where do we see such connections? How do we describe, analyze, and theorize these relationships? The first of two volumes, this book focuses on these questions in relation to long-established, traditional practices using puppets, devotional objects, and related items with sacred aspects to them or that perform ritual roles. Looking at performance traditions and artifacts from China, Indonesia, Korea, Mali, Brazil, Iran, Germany, and elsewhere, the essays from scholars and practitioners provide a range of useful models and critical vocabularies for addressing the ritual and spiritual aspects of puppet performance, further expanding the growing understanding and appreciation of puppetry generally.

This book, along with its companion volume, offers, for the first time, robust coverage of this subject from a diversity of voices, examples, and perspectives.

This anthology of essays aims to explore the many types of relationships that exist between puppets, broadly speaking, and the immaterial world.

The allure of the puppet goes beyond its material presence as, historically and throughout the globe, many uses of puppets and related objects have expressed and capitalized on their posited connections to other realms or ability to serve as vessels or conduits for immaterial presence. The flip side of the puppet’s troubling uncanniness is precisely the possibilities it represents for connecting to discarnate realities. Where do we see such connections? How do we describe, analyze, and theorize these relationships? The first of two volumes, this book focuses on these questions in relation to long-established, traditional practices using puppets, devotional objects, and related items with sacred aspects to them or that perform ritual roles. Looking at performance traditions and artifacts from China, Indonesia, Korea, Mali, Brazil, Iran, Germany, and elsewhere, the essays from scholars and practitioners provide a range of useful models and critical vocabularies for addressing the ritual and spiritual aspects of puppet performance, further expanding the growing understanding and appreciation of puppetry generally.

This book, along with its companion volume, offers, for the first time, robust coverage of this subject from a diversity of voices, examples, and perspectives.

Drawing on the author’s two decades of seeing, writing on, and teaching about puppetry from a critical perspective, this book offers a collection of insights into how we watch, understand, and appreciate puppetry.

Reading the Puppet Stage uses examples from a broad range of puppetry genres, from Broadway shows and the Muppets to the rich field of international contemporary performing object experimentation to the wealth of Asian puppet traditions, as it illustrates the ways performing objects can create and structure meaning and the dramaturgical interplay between puppets, performers, and language onstage.

An introductory approach for students, critics, and artists, this book underlines where significant artistic concerns lie in puppetry and outlines the supportive networks and resources that shape the community of those who make, watch, and love this ever-developing art.

Drawing on the author’s two decades of seeing, writing on, and teaching about puppetry from a critical perspective, this book offers a collection of insights into how we watch, understand, and appreciate puppetry.

Reading the Puppet Stage uses examples from a broad range of puppetry genres, from Broadway shows and the Muppets to the rich field of international contemporary performing object experimentation to the wealth of Asian puppet traditions, as it illustrates the ways performing objects can create and structure meaning and the dramaturgical interplay between puppets, performers, and language onstage.

An introductory approach for students, critics, and artists, this book underlines where significant artistic concerns lie in puppetry and outlines the supportive networks and resources that shape the community of those who make, watch, and love this ever-developing art.

This anthology of essays, a companion to Puppet and Spirit: Ritual, Religion, and Performing Objects, Volume I, aims to explore the many types of relationships that exist between puppets, broadly speaking, and the immaterial world.

The allure of the puppet goes beyond its material presence as, historically and throughout the globe, many uses of puppets and related objects have expressed and capitalized on their posited connections to other realms or ability to serve as vessels or conduits for immaterial presence. The flip side of the puppet’s troubling uncanniness is precisely the possibilities it represents for connecting to discarnate realities. Where do we see such connections in contemporary artistic work in various mediums? How do puppets open avenues for discussion in a world that seems to be increasingly polarized around religious values? How do we describe, analyze, and theorize the present moment? What new questions do puppets address for our times, and how does the puppet’s continued entanglement with these concerns trouble or comfort us? The essays in this book, from scholars and practitioners, provide a range of useful models and critical vocabularies for addressing this aspect of puppet performance, further expanding the growing understanding and appreciation of puppetry generally.

This book, along with its companion volume, offers, for the first time, robust coverage of this subject from a diversity of voices, examples, and perspectives.

This anthology of essays, a companion to Puppet and Spirit: Ritual, Religion, and Performing Objects, Volume I, aims to explore the many types of relationships that exist between puppets, broadly speaking, and the immaterial world.

The allure of the puppet goes beyond its material presence as, historically and throughout the globe, many uses of puppets and related objects have expressed and capitalized on their posited connections to other realms or ability to serve as vessels or conduits for immaterial presence. The flip side of the puppet’s troubling uncanniness is precisely the possibilities it represents for connecting to discarnate realities. Where do we see such connections in contemporary artistic work in various mediums? How do puppets open avenues for discussion in a world that seems to be increasingly polarized around religious values? How do we describe, analyze, and theorize the present moment? What new questions do puppets address for our times, and how does the puppet’s continued entanglement with these concerns trouble or comfort us? The essays in this book, from scholars and practitioners, provide a range of useful models and critical vocabularies for addressing this aspect of puppet performance, further expanding the growing understanding and appreciation of puppetry generally.

This book, along with its companion volume, offers, for the first time, robust coverage of this subject from a diversity of voices, examples, and perspectives.

The Routledge Companion to Puppetry and Material Performance offers a wide-ranging

perspective on how scholars and artists are currently re-evaluating the theoretical, historical,

and theatrical significance of performance that embraces the agency of inanimate objects.

This book proposes a collaborative, responsive model for broader artistic engagement in and

with the material world. Its 28 chapters aim to advance the study of the puppet not only as a

theatrical object but also as a vibrant artistic and scholarly discipline.

This Companion looks at puppetry and material performance from six perspectives: theoretical

approaches to the puppet, perspectives from practitioners, revisiting history, negotiating tradition,

material performances in contemporary theatre, and hybrid forms. Its wide range of topics, which

span 15 countries over five continents, encompasses:

• visual dramaturgy

• theatrical juxtapositions of robots and humans

• contemporary transformations of Indonesian wayang kulit

• Japanese ritual body substitutes

• recent European productions featuring toys, clay, and food.

The book features newly commissioned essays by leading scholars such as Matthew Isaac

Cohen, Kathy Foley, Jane Marie Law, Eleanor Margolies, Cody Poulton, and Jane Taylor.

It also celebrates the vital link between puppetry as a discipline and as a creative practice

with chapters by active practitioners, including Handspring Puppet Company’s Basil Jones,

Redmoon’s Jim Lasko, and Bread and Puppet’s Peter Schumann. Fully illustrated with more

than 60 images, this volume comprises the most expansive English-language collection of

international puppetry scholarship to date.

The Routledge Companion to Puppetry and Material Performance offers a wide-ranging

perspective on how scholars and artists are currently re-evaluating the theoretical, historical,

and theatrical significance of performance that embraces the agency of inanimate objects.

This book proposes a collaborative, responsive model for broader artistic engagement in and

with the material world. Its 28 chapters aim to advance the study of the puppet not only as a

theatrical object but also as a vibrant artistic and scholarly discipline.

This Companion looks at puppetry and material performance from six perspectives: theoretical

approaches to the puppet, perspectives from practitioners, revisiting history, negotiating tradition,

material performances in contemporary theatre, and hybrid forms. Its wide range of topics, which

span 15 countries over five continents, encompasses:

• visual dramaturgy

• theatrical juxtapositions of robots and humans

• contemporary transformations of Indonesian wayang kulit

• Japanese ritual body substitutes

• recent European productions featuring toys, clay, and food.

The book features newly commissioned essays by leading scholars such as Matthew Isaac

Cohen, Kathy Foley, Jane Marie Law, Eleanor Margolies, Cody Poulton, and Jane Taylor.

It also celebrates the vital link between puppetry as a discipline and as a creative practice

with chapters by active practitioners, including Handspring Puppet Company’s Basil Jones,

Redmoon’s Jim Lasko, and Bread and Puppet’s Peter Schumann. Fully illustrated with more

than 60 images, this volume comprises the most expansive English-language collection of

international puppetry scholarship to date.

Women and Puppetry is the first publication dedicated to the study of women in the field of puppetry arts. It includes critical articles and personal accounts that interrogate specific historical moments, cultural contexts, and notions of "woman" on and off stage.

Part I, "Critical Perspective," includes historical and contemporary analyses of women’s roles in society, gender anxiety revealed through the unmarked puppet body, and sexual expression within oppressive social contexts. Part II, "Local Contexts: Challenges and Transformations," investigates work of female practitioners within specific cultural contexts to illuminate how women are intervening in traditionally male spaces. Each chapter in Part II offers brief accounts of specific social histories, barriers, and gender biases that women have faced, and the opportunities afforded female creative leaders to appropriate, revive, and transform performance traditions. And in Part III, "Women Practitioners Speak," contemporary artists reflect on their experiences as female practitioners within the art of puppet theatre.

Representing female writers and practitioners from across the globe, Women and Puppetry offers students and scholars a comprehensive interrogation of the challenges and opportunities that women face in this unique art form.

Women and Puppetry is the first publication dedicated to the study of women in the field of puppetry arts. It includes critical articles and personal accounts that interrogate specific historical moments, cultural contexts, and notions of "woman" on and off stage.

Part I, "Critical Perspective," includes historical and contemporary analyses of women’s roles in society, gender anxiety revealed through the unmarked puppet body, and sexual expression within oppressive social contexts. Part II, "Local Contexts: Challenges and Transformations," investigates work of female practitioners within specific cultural contexts to illuminate how women are intervening in traditionally male spaces. Each chapter in Part II offers brief accounts of specific social histories, barriers, and gender biases that women have faced, and the opportunities afforded female creative leaders to appropriate, revive, and transform performance traditions. And in Part III, "Women Practitioners Speak," contemporary artists reflect on their experiences as female practitioners within the art of puppet theatre.

Representing female writers and practitioners from across the globe, Women and Puppetry offers students and scholars a comprehensive interrogation of the challenges and opportunities that women face in this unique art form.

This anthology of essays aims to explore the many types of relationships that exist between puppets, broadly speaking, and the immaterial world.

The allure of the puppet goes beyond its material presence as, historically and throughout the globe, many uses of puppets and related objects have expressed and capitalized on their posited connections to other realms or ability to serve as vessels or conduits for immaterial presence. The flip side of the puppet’s troubling uncanniness is precisely the possibilities it represents for connecting to discarnate realities. Where do we see such connections? How do we describe, analyze, and theorize these relationships? The first of two volumes, this book focuses on these questions in relation to long-established, traditional practices using puppets, devotional objects, and related items with sacred aspects to them or that perform ritual roles. Looking at performance traditions and artifacts from China, Indonesia, Korea, Mali, Brazil, Iran, Germany, and elsewhere, the essays from scholars and practitioners provide a range of useful models and critical vocabularies for addressing the ritual and spiritual aspects of puppet performance, further expanding the growing understanding and appreciation of puppetry generally.

This book, along with its companion volume, offers, for the first time, robust coverage of this subject from a diversity of voices, examples, and perspectives.

This anthology of essays aims to explore the many types of relationships that exist between puppets, broadly speaking, and the immaterial world.

The allure of the puppet goes beyond its material presence as, historically and throughout the globe, many uses of puppets and related objects have expressed and capitalized on their posited connections to other realms or ability to serve as vessels or conduits for immaterial presence. The flip side of the puppet’s troubling uncanniness is precisely the possibilities it represents for connecting to discarnate realities. Where do we see such connections? How do we describe, analyze, and theorize these relationships? The first of two volumes, this book focuses on these questions in relation to long-established, traditional practices using puppets, devotional objects, and related items with sacred aspects to them or that perform ritual roles. Looking at performance traditions and artifacts from China, Indonesia, Korea, Mali, Brazil, Iran, Germany, and elsewhere, the essays from scholars and practitioners provide a range of useful models and critical vocabularies for addressing the ritual and spiritual aspects of puppet performance, further expanding the growing understanding and appreciation of puppetry generally.

This book, along with its companion volume, offers, for the first time, robust coverage of this subject from a diversity of voices, examples, and perspectives.

Drawing on the author’s two decades of seeing, writing on, and teaching about puppetry from a critical perspective, this book offers a collection of insights into how we watch, understand, and appreciate puppetry.

Reading the Puppet Stage uses examples from a broad range of puppetry genres, from Broadway shows and the Muppets to the rich field of international contemporary performing object experimentation to the wealth of Asian puppet traditions, as it illustrates the ways performing objects can create and structure meaning and the dramaturgical interplay between puppets, performers, and language onstage.

An introductory approach for students, critics, and artists, this book underlines where significant artistic concerns lie in puppetry and outlines the supportive networks and resources that shape the community of those who make, watch, and love this ever-developing art.

Drawing on the author’s two decades of seeing, writing on, and teaching about puppetry from a critical perspective, this book offers a collection of insights into how we watch, understand, and appreciate puppetry.

Reading the Puppet Stage uses examples from a broad range of puppetry genres, from Broadway shows and the Muppets to the rich field of international contemporary performing object experimentation to the wealth of Asian puppet traditions, as it illustrates the ways performing objects can create and structure meaning and the dramaturgical interplay between puppets, performers, and language onstage.

An introductory approach for students, critics, and artists, this book underlines where significant artistic concerns lie in puppetry and outlines the supportive networks and resources that shape the community of those who make, watch, and love this ever-developing art.

This anthology of essays, a companion to Puppet and Spirit: Ritual, Religion, and Performing Objects, Volume I, aims to explore the many types of relationships that exist between puppets, broadly speaking, and the immaterial world.

The allure of the puppet goes beyond its material presence as, historically and throughout the globe, many uses of puppets and related objects have expressed and capitalized on their posited connections to other realms or ability to serve as vessels or conduits for immaterial presence. The flip side of the puppet’s troubling uncanniness is precisely the possibilities it represents for connecting to discarnate realities. Where do we see such connections in contemporary artistic work in various mediums? How do puppets open avenues for discussion in a world that seems to be increasingly polarized around religious values? How do we describe, analyze, and theorize the present moment? What new questions do puppets address for our times, and how does the puppet’s continued entanglement with these concerns trouble or comfort us? The essays in this book, from scholars and practitioners, provide a range of useful models and critical vocabularies for addressing this aspect of puppet performance, further expanding the growing understanding and appreciation of puppetry generally.

This book, along with its companion volume, offers, for the first time, robust coverage of this subject from a diversity of voices, examples, and perspectives.

This anthology of essays, a companion to Puppet and Spirit: Ritual, Religion, and Performing Objects, Volume I, aims to explore the many types of relationships that exist between puppets, broadly speaking, and the immaterial world.

The allure of the puppet goes beyond its material presence as, historically and throughout the globe, many uses of puppets and related objects have expressed and capitalized on their posited connections to other realms or ability to serve as vessels or conduits for immaterial presence. The flip side of the puppet’s troubling uncanniness is precisely the possibilities it represents for connecting to discarnate realities. Where do we see such connections in contemporary artistic work in various mediums? How do puppets open avenues for discussion in a world that seems to be increasingly polarized around religious values? How do we describe, analyze, and theorize the present moment? What new questions do puppets address for our times, and how does the puppet’s continued entanglement with these concerns trouble or comfort us? The essays in this book, from scholars and practitioners, provide a range of useful models and critical vocabularies for addressing this aspect of puppet performance, further expanding the growing understanding and appreciation of puppetry generally.

This book, along with its companion volume, offers, for the first time, robust coverage of this subject from a diversity of voices, examples, and perspectives.

The Routledge Companion to Puppetry and Material Performance offers a wide-ranging

perspective on how scholars and artists are currently re-evaluating the theoretical, historical,

and theatrical significance of performance that embraces the agency of inanimate objects.

This book proposes a collaborative, responsive model for broader artistic engagement in and

with the material world. Its 28 chapters aim to advance the study of the puppet not only as a

theatrical object but also as a vibrant artistic and scholarly discipline.

This Companion looks at puppetry and material performance from six perspectives: theoretical

approaches to the puppet, perspectives from practitioners, revisiting history, negotiating tradition,

material performances in contemporary theatre, and hybrid forms. Its wide range of topics, which

span 15 countries over five continents, encompasses:

• visual dramaturgy

• theatrical juxtapositions of robots and humans

• contemporary transformations of Indonesian wayang kulit

• Japanese ritual body substitutes

• recent European productions featuring toys, clay, and food.

The book features newly commissioned essays by leading scholars such as Matthew Isaac

Cohen, Kathy Foley, Jane Marie Law, Eleanor Margolies, Cody Poulton, and Jane Taylor.

It also celebrates the vital link between puppetry as a discipline and as a creative practice

with chapters by active practitioners, including Handspring Puppet Company’s Basil Jones,

Redmoon’s Jim Lasko, and Bread and Puppet’s Peter Schumann. Fully illustrated with more

than 60 images, this volume comprises the most expansive English-language collection of

international puppetry scholarship to date.

The Routledge Companion to Puppetry and Material Performance offers a wide-ranging

perspective on how scholars and artists are currently re-evaluating the theoretical, historical,

and theatrical significance of performance that embraces the agency of inanimate objects.

This book proposes a collaborative, responsive model for broader artistic engagement in and

with the material world. Its 28 chapters aim to advance the study of the puppet not only as a

theatrical object but also as a vibrant artistic and scholarly discipline.

This Companion looks at puppetry and material performance from six perspectives: theoretical

approaches to the puppet, perspectives from practitioners, revisiting history, negotiating tradition,

material performances in contemporary theatre, and hybrid forms. Its wide range of topics, which

span 15 countries over five continents, encompasses:

• visual dramaturgy

• theatrical juxtapositions of robots and humans

• contemporary transformations of Indonesian wayang kulit

• Japanese ritual body substitutes

• recent European productions featuring toys, clay, and food.

The book features newly commissioned essays by leading scholars such as Matthew Isaac

Cohen, Kathy Foley, Jane Marie Law, Eleanor Margolies, Cody Poulton, and Jane Taylor.

It also celebrates the vital link between puppetry as a discipline and as a creative practice

with chapters by active practitioners, including Handspring Puppet Company’s Basil Jones,

Redmoon’s Jim Lasko, and Bread and Puppet’s Peter Schumann. Fully illustrated with more

than 60 images, this volume comprises the most expansive English-language collection of

international puppetry scholarship to date.

Women and Puppetry is the first publication dedicated to the study of women in the field of puppetry arts. It includes critical articles and personal accounts that interrogate specific historical moments, cultural contexts, and notions of "woman" on and off stage.

Part I, "Critical Perspective," includes historical and contemporary analyses of women’s roles in society, gender anxiety revealed through the unmarked puppet body, and sexual expression within oppressive social contexts. Part II, "Local Contexts: Challenges and Transformations," investigates work of female practitioners within specific cultural contexts to illuminate how women are intervening in traditionally male spaces. Each chapter in Part II offers brief accounts of specific social histories, barriers, and gender biases that women have faced, and the opportunities afforded female creative leaders to appropriate, revive, and transform performance traditions. And in Part III, "Women Practitioners Speak," contemporary artists reflect on their experiences as female practitioners within the art of puppet theatre.

Representing female writers and practitioners from across the globe, Women and Puppetry offers students and scholars a comprehensive interrogation of the challenges and opportunities that women face in this unique art form.

Women and Puppetry is the first publication dedicated to the study of women in the field of puppetry arts. It includes critical articles and personal accounts that interrogate specific historical moments, cultural contexts, and notions of "woman" on and off stage.

Part I, "Critical Perspective," includes historical and contemporary analyses of women’s roles in society, gender anxiety revealed through the unmarked puppet body, and sexual expression within oppressive social contexts. Part II, "Local Contexts: Challenges and Transformations," investigates work of female practitioners within specific cultural contexts to illuminate how women are intervening in traditionally male spaces. Each chapter in Part II offers brief accounts of specific social histories, barriers, and gender biases that women have faced, and the opportunities afforded female creative leaders to appropriate, revive, and transform performance traditions. And in Part III, "Women Practitioners Speak," contemporary artists reflect on their experiences as female practitioners within the art of puppet theatre.

Representing female writers and practitioners from across the globe, Women and Puppetry offers students and scholars a comprehensive interrogation of the challenges and opportunities that women face in this unique art form.