Puppet History & Performace

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Artist: Puroticorico / Richie Diesterheft
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A common thread that seems to be shared in both readings ("Puppets, Masks, and Performing Objects at the End of the Century" by John Bell, and "A Puppet Tree" by Stephen Kaplin), is that both writers reinforce the history and documentation of puppetry as one of its main actuators as well as one of its inhibitors. To explain, Bell speaks of how individuals such as Claude Levi-Strauss wrote about how masks were used by the Northwest Coast Indians in order to describe, "tribal kinship patters" instead of the performance aspect of the masks, which points to the roots and theology behind why the masks were used. Similarly, Kaplin mentions that both Peter Schumann and Jim Hensons' puppet companies stay true to the historical roots from which puppetry came despite the companies and enterprises that would desire to lead them astray. The underlying theme that Bell and Kaplin share is that the roots of puppetry are important to understand in order to effectively implement new concepts and ideas. It is interesting to note that even though the history of puppetry is important, that studies and research regarding its origins have been minimally focused upon in America. According to Bell, it has only been recently that both education and resources have become available. In addition, it would seem as though information about mask and puppet performance would be available in America since people from many different countries currently inhabit this land... many of whom probably possess much knowledge about the significance of these things. A possible reason why America is illiterate might be that: The people of America come from a different culture and don't find much interest in puppetry because it doesn't have a ceremonial or direct connection to them. As Bell points out, many different countries such as Europe, Russia, Japan, Italy, Germany, and Africa all have roots with puppetry and masks and therefore consider them to be of higher regard. I have to admit that my own personal experience with puppets and masks have been referenced only as objects you play or pretend with, and that they hold minimal historical value within the culture in which I grew up. For instance, the television show "Sesame Street" involves puppets that tell stories and are used for educational purposes for young children. This is part of what I remember as a child and my exposure to puppetry, which doesn't include a significant spiritual or theoretical connection. I am not suggesting that this is good. I am merely pointing out that my connection with puppetry has not been stressed as much or in the same manner as other countries, which is why education materials are scarce.
One other topic that Bell and Kaplin share in discussing is automation. Where Bell touches briefly on the fact that "performing machines" have had a large impact in this century and will continue in the next, Kaplin agrees and disagrees at the same time. Kaplin states that puppets can be directly connected to a human by means of a mask or body suit which helps to convey a specific character or personality and body image. This enables the one who wears the mask or suit to become connected with it in a more personal way. As the puppet increases or decreases in size however, a more limited connection can be made. Namely, as the suit becomes larger, the performer becomes further detached from its confines as well as the fact that it takes more individuals to operate. In the same manner, the smaller the suit, (a hand puppet for example) the more attention has to be made in the operation of it. This ensures that it contains the desired traits and it can function without the total physical embodiment of the performer. Kaplin also says that as the distance between the performer and the "performing object" increases, that the object takes on a existence of its own. Therefore, the object no longer is connected by means of human physiology but by mechanisms which are controlled by many individuals. This also brings up the point that Kaplin makes when he states that the more technology that has to be used, whether mechanical or computer controlled, the more individuals are required for its function. This can displace the connection between a puppet and its maker/performer. However, with the advanced technology that is available today, a more personal connection to be made between a puppet and performer. This allows that "virtual world" which was seen as unrealistic in achieving many years ago to be the innovative medium and driving force behind new forms of puppetry.