Theatre and puppetry

The Routledge Companion to Applied Performance provides an in-depth, far-reaching and provocative consideration of how scholars and artists negotiate the theoretical, historical and practical politics of applied performance, both in the academy and beyond. This paper explores the work through dance and movement in two cases - projects: one with ex combatants from illegal armed groups and other one with victims of the armed country, both in Colombia during 2011 and 2012. It presents reflections, findings , conclusions and resonances between them.

Today, with major archaeological discoveries in Southwark, Marvin Carlson's study on the semiotics of theater architecture, and insights from the reconstructed (New) Globe, it is increasingly clear that Shakespeare's "plays were written for the space in which they were to be performed: and that therefore to understand Shakespeare, one should understand his playhouses" (Stern 21). Sándor Hevesi, one of the most important yet still somewhat overlooked figures in early-twentieth-century Hungarian theater, was among the first to recognize that Shakespeare's plays did not naturally suit the proscenium stage. A critic-turned-director and dramaturg, he recognized that it was the architecture of nineteenth-century European theaters that necessitated the radical editorial and dramaturgical interventions, often infamously substantial textual cuts, characteristic of nineteenth-and early-twentieth-century Shakespearean productions. This recognition fueled his devoted explorations into the workings of the Shakespeare stage. In Hevesi's time, little was known about the original dimensions and staging conditions of Elizabethan playhouses. In a 2023 paper, I argued that by 1923, through his staging of The Taming of the Shrew, Hevesi believed he had discovered the real Shakespeare. This paper explores the starting point of that journey to assess the significance of Hevesi's anticipatory ideas.

Today, with major archaeological discoveries in Southwark, Marvin Carlson’s study on the semiotics of theater architecture, and insights from the reconstructed (New) Globe, it is increasingly clear that Shakespeare’s “plays were written for the space in which they were to be performed: and that therefore to understand Shakespeare, one should understand his playhouses” (Stern 21). Sándor Hevesi, one of the most important yet still somewhat overlooked figures in early-twentieth-century Hungarian theater, was among the first to recognize that Shakespeare’s plays did not naturally suit the proscenium stage. A critic-turned-director and dramaturg, he recognized that it was the architecture of nineteenth-century European theaters that necessitated the radical editorial and dramaturgical interventions, often infamously substantial textual cuts, characteristic of nineteenth- and early-twentieth-century Shakespearean productions. This recognition fueled his devoted explorations into the workings of the Shakespeare stage. In Hevesi’s time, little was known about the original dimensions and staging conditions of Elizabethan playhouses. In a 2023 paper, I argued that by 1923, through his staging of The Taming of the Shrew, Hevesi believed he had discovered the real Shakespeare. This paper explores the starting point of that journey to assess the significance of Hevesi’s anticipatory ideas.

Although there is a growing practice of puppetry in education, there has been no academic research to date on the range of puppet theatre styles and techniques in the museum context. This interdisciplinary thesis seeks to investigate what I call 'museum puppetry', e.g. puppetry used for pedagogical purposes in museum studies' with a focus on the exchanges, compromises and tensions among museum staff and puppet theatre practitioners. Although the research is conducted mainly from the puppeteers' perspective, Chapter 3: The two communities of practice: museum staff and puppeteers Post-museum and museum communities -Interactivity as pre-production………… Collaborative museum puppetry practices………………………………………….. Museum puppetry projects and delicate subjects…………………………………… Authenticity/reliability and other issues involved in big institutions' commissions.... Conclusion………………………………………………………………………….. Chapter 4: Museum Interactivity and Puppet Exhibits………………………… Exploring museum collections and ideas with objects……………………………… Automata on display………………………………………………………………... Museum interpretation and communication with puppet exhibits………………….. The sense of touch and interactive puppet exhibits………………………………….. Conclusion. ………………………………………………………………………… Chapter 5: Conclusion and recommendations…………………………….……..

The SIBMAS - International Association for Libraries and Museums for the Performing Arts Symposium 2025 was an uplifting experience filled with new friendships. I presented our project to reenact a puppet play by Harry Vernon Tozer, featuring original marionettes from 1936. But before, I spoke about our Museu de les Arts Escèniques, a museum with no museum—a collection with no display.

W artykule poddano analizie kondycję współczesnego teatru lalek w Polsce z uwzględnieniem roli młodych artystów jako potencjalnych twórców jego przyszłości. Badania oparto na działaniach performatywnych, warsztatach artystycznych oraz wynikach ankiet przeprowadzonych wśród uczestników, ze szczególnym uwzględnieniem młodzieży i dzieci. Artykuł podejmuje refleksję nad tym, czy teatr lalek może stać się narzędziem integracji społecznej, artystycznej innowacji oraz skutecznym sposobem reagowania na zmiany społeczno-kulturowe XXI wieku. Przedstawione obserwacje prowadzą do wniosku, że lalkarstwo-wzbogacone o nowe media, performans i technologie-ma potencjał, by stać się przestrzenią interaktywnego dialogu międzypokoleniowego i międzynarodowego. Słowa kluczowe 1. Teatr lalek, 2. Performans, 3. Młodzi artyści, 4. Nowe technologie, 5. Edukacja artystyczna 1. Wprowadzenie W dobie globalnych przemian, redefinicji tożsamości kulturowej oraz ekspansji nowych technologii, pytanie o przyszłość tradycyjnych dziedzin sztuki, w tym teatru lalek, nabiera

This afterword is also a 'beforehand': it gives a background for the articles in this special issue, exploring William Shakespeare's own references to puppet shows, puppets themselves and puppet audiences and looking too at the actual puppets he may have used in his plays. Its argument is that, from the first, the relationship between Shakespeare and puppets was reciprocal; he treated puppet-plays in much the way that, as these trenchant articles have shown, Shakespeare's plays have come to be treated by puppets and puppeteers. Keywords William Shakespeare, puppet, puppet theatre, Elizabethan theatre, animated object Résumé Cette postface est aussi une préface: elle offre un arrière-plan pour les articles de ce numéro spécial, en examinant, chez William Shakespeare, les références aux spectacles de marionnettes, aux marionnettes elles-mêmes ainsi qu'à leur public, et en réfléchissant aussi aux marionnettes qu'il a pu réellement utiliser dans ses pièces. Elle affirme que, dès le début, la relation entre Shakespeare et les marionnettes fut réciproque; il a traité les pièces pour marionnettes d'une façon très comparable à celle dont, comme le montrent avec beaucoup de pertinence les articles ici réunis, les marionnettistes et leurs marionnettes ont traité les oeuvres de Shakespeare. Mots-clés William Shakespeare, marionnette, théâtre de marionnette, théâtre élisabéthain, objet animé

Puppetry scholars worldwide have acknowledged that traditional puppetry is declining, mainly because it finds itself in unfamiliar contexts. While some bemoan the loss of its ritualistic and religious appeal, others agree that the only way forward is to appeal to a new patronage. Through this paper, we add to the understanding of the survival of traditional puppetry over the years by analysing the case of Satya Narayan Putul Natya Sanstha (SNPNS), a hereditary rodpuppetry organisation in West Bengal, India, which has been engaged in rod puppetry for the last eight decades. Documenting the historical evolution of danger putul nach, we identified the strategies adopted by SNPNS to ensure its cultural transmission. The oral narratives obtained from the performing community suggested that outdated production practices led to the downfall of the traditional style of danger putul nach. Conversely, the contemporary members' penchant for innovative strategies in keeping with the changing production context resulted in the positive restructuring of the community, which, combined with government aid, led to the survival of danger putul nach, albeit in its new avatar. From this, we conclude that a hereditary art form's reproduction is subject to how the transitioning circumstances of its production determine the choices exercised by the producer community. However, the repercussions of innovating and marketing hereditary art forms like rod puppetry for the contemporary audiences have their limitations and need further exploration.

La adúltera penitente, de Matos Fragoso, Cáncer y Moreto se ha llevado a escena en distintos siglos de acuerdo con la documentación conservada: siglo XVII, XVIII y XX. Se estudian las posibles formas de representar la comedia atendiendo a la arquitectura de los espacios escénicos, los motivos pictóricos y las fotografías conservadas, trazando un panorama de maneras de escenificar y referentes artísticos según cada siglo.

Tekst opowiada o procesie powstawania spektaklu "Odważna księżniczka" według Witkacego w reżyserii Jana Dormana, którego premiera odbyła się w Teatrze Baj Pomorski w Toruniu 10 listopada 1985 roku. To była pierwsza i jak się potem okazało jedyna realizacja Dormana oparta wyłącznie na dramaturgii Witkacego, choć autor ten już wcześniej fascynował twórcę Teatru Dzieci Zagłębia w Będzinie. Tekst powstał w ramach projektu „Dorman. Archiwum Otwarte” prowadzonego przez Instytut Teatralny im. Z. Raszewskiego w Warszawie w latach 2016-2019 (kierownictwo naukowe: Marzenna Wiśniewska)

An exciting application for virtual production is where actors appear to perform with life-sized digital doubles in a large LED wall for a location-based experience like a live show. The Macbeth Metahuman Theatre project combines Edward Gordon Craig's über-marionette or super-puppet concept with Curtis Hickman's hyperreality design framework to create the illusion of intelligent actor-Metahuman interaction in a virtual production volume. Applying Craig's critique of theatre acting and descriptions of an über-marionette to digital doubles, I develop practical criteria for super-puppets in immersive experiences. Then I discuss the initial results of adapting the opening scene of Shakespeare's Macbeth for a hyper-reality treatment in a virtual production volume. Stage magic principles are used to hide the control mechanism for changing states in the Unreal Engine scene, so that a live actor wearing an inertial motion capture suit under their costume can puppeteer a hidden Metahuman double that hits invisible trigger boxes in the volume, driving the dramatic spectacle through special effects and animated Metahuman witches. I argue that this project fulfills the criteria for Craig's concept of a super-puppet in his Theatre of the Future, and that this expanded virtual production pipeline offers live actors a new venue of creative expression as performance capture artists.

Las exploraciones de El Periférico de Objetos se alinean con la búsqueda de una estética que no se encuentra en el centro, sino en los bordes. Es esta acepción de lo periférico como borde, la punta del ovillo para ensayar una nueva mirada sobre este grupo que avance sobre una posible combinación entre el teatro de objetos y el teatro de actores; una mirada desde una perspectiva intermedial que nos permita organizar su trayectoria desde un lugar original.

Para ello, partimos de la hipótesis de que la superposición entre teatro de objetos y teatro de actores, clave para una estética periférica, tiene como síntesis formal la superposición de sujetos y objetos, una superposición que irá adquiriendo nuevas modalidades en cada uno de los espectáculos. Nos detendremos entonces en los procedimientos que el grupo ha ensayado para moldear esa superposición sujeto/objeto haciendo foco en tres puestas y mirando especialmente los diferentes cuerpos y materialidades que se ven en escena, la manipulación y los sentidos que producen: El hombre de arena (1992), Cámara Gesell (1994) y Máquina Hamlet (1995).

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In his 1983 overview of the semiotic aspects of “performing
objects,” which focuses primarily on puppet theatre,
Frank Proschan criticizes Roland Barthes’ impressions of the
Japanese bunraku puppet theatre performances, specifically
the separation between the different parts of the puppet
operation, which leads to the appeal of ‘the part’ rather
than the ‘totality’ of the body accepted in western culture.
Proschan argues that such separation is not unique to Japanese
performances. However, Bolton (2002), while not arguing
for uniqueness, claims that such separation is a part
of Japanese culture and links it to the 1995 Japanese animated
film Ghost in the Shell. This article examines Bolton’s,
Barthes’, and Proschan’s argument in light of the Japanese
animated robot shows, where such separation is common,
through an examination of non-Japanese influence – the
puppet shows, and in particular Thunderbirds (1965-1966)
produced by Gerry Anderson in the United Kingdom. The
article concludes that, while the Japanese animated robot
shows and the Anderson productions that inspired them indeed
emphasize the appeal of ‘the part,’ they do so in a manner
that challenges both Barthes’ impressions of the bunraku
and Proschan’s observations of the relationship between performing
objects and animation.

Abstract In recent years, theatre has increasingly integrated technology, with scholars exploring concepts like ‘liveness’ and ‘mediatization’ (AUSLANDER 1999), ‘presence’ (POWER 2008), and ‘intermediality’ (DERES 2015). However, these discourses have often overlooked puppetry as a medium. This paper argues that it is time to include puppetry in these discussions, particularly where live acting and digital tools intersect. Examining the production Dekameron2023 (Budapest Puppet Theatre), the paper uses Bolter and Gursin’s concepts of immediacy and hypermediacy and proposes to explore the interplay of the ‘corporeal’ (referring to the performer’s body, whether puppet or flesh) and the ‘intangible’ (digital, virtual), celebrating the live human agency in digital-age theatre.

The article outlines some basic parameters, a type of guidelines in the work of the scenographer regarding the scenographic solution and what is his task. What is the unique specificity of the stage visual image, brought out through the connection of the material and the immaterial through the form of puppetry.

The practical aim of this research project is to create a multi-touch digital puppetry system that simulates shadow theatre environments and translates gestural acts of touch into live and expressive control of virtual shadow figures. The research is focussed on the qualities of movement achievable through the haptics of single and multi-touch control of the digital puppets in the simulation. An associated aim is to create a collaborative environment where multiple performers can control dynamic animation and scenography, and create novel visualisations and narratives. The conceptual aim is to link traditional and new forms of puppetry seeking cultural significance in the 'remediation' of old forms that avail themselves of new haptic resources and collaborative interfaces. The thesis evaluates related prior art where traditional worlds of shadow performance meet new media, digital projection and 3D simulation, in order to investigate how changing technical contexts transform the potential of shadows as an expressive medium. The thesis uses cultural analysis of relevant documentary material to contextualise the practical work by relating the media archaeology of 2D puppetry-shadows, shadowgraphs and silhouettes-to landmark work in real-time computer graphics and performance animation. The survey considers the work of puppeteers, animators, computer graphics specialists and media artists. Through practice and an experimental approach to critical digital creativity, the study provides practical evidence of multiple iterations of controllable physics-based animation delivering expressive puppet motion through touch and multiuser interaction. Video sequences of puppet movement and written observational analysis document the intangible aspects of animation in performance. Through re-animation of archival shadow puppets, the study presents an emerging artistic media archaeological method. The major element of this method has been the restoration of a collection of Turkish Karagöz Shadow puppets from the Institut International de la Marionnette (Charleville, France) into a playable digital form. The thesis presents a developing creative and analytical framework for digital shadow puppetry. It proposes a media archaeological method for working creatively with puppet archives that unlock the kinetic and expressive potential of restored figures. The interaction design introduces novel approaches to puppetry control systems-using spring networks-with objects under physics-simulation that demonstrate emergent expressive qualities. The system facilitates a dance of agency 1 between puppeteer and digital instrument. The practical elements have produced several software iterations and a tool-kit for generating elegant, nuanced multi-touch shadow puppetry. The study presents accidental discoveries-serendipitous benefits of openended practical exploration. For instance: the extensible nature of the control system means novel input-other than touch-can provide exciting potential for accessible user interaction, e.g. with gaze duration and eye direction. The study also identifies limitations including the rate of software change and obsolescence, the scope of physics-based animation and failures of simulation. The work has historical value in that it documents and begins a media archaeology of digital puppetry, an animated phenomenon of increasing academic and commercial interest. The work is of artistic value providing an interactive approach to making digital performance from 1 Following Andrew Pickering, puppetry is 'a temporally extended back-and-forth dance of human and non-human agency in which activity and passivity on both sides are reciprocally intertwined' PICKERING, A. 2010. Material Culture and the Dance of Agency. In: BEAUDRY, M. C. & HICKS, D. (eds.) Oxford Handbook of Material Culture Studies. Oxford University Press.. archival material in the domain of shadow theatre. The work contributes to the electronic heritage of existing puppetry collections. The study establishes a survey of digital puppetry, setting a research agenda for future studies. Work may proceed to digitise, rig and create collaborative and web-mediated touch-based motion control systems for 2D and 3D puppets. The present study thus provides a solid platform to restore past performances and create new work from old, near forgotten-forms.

Książkę "Nasz BTL. U źródeł" wydano w ramach wystawy "Nasz BTL. U źródeł" prezentowanej podczas Międzynarodowego Festiwalu Teatrów Lalek dla Dorosłych METAMORFOZY LALEK-5. edycja. / The book entitled "Our BTL. At the sources" was published as a part of exhibition "Our BTL. At the sources" presented during 5th edition of "PUPPETS' METAMORPHOSES" International Festival of Puppet Theatres for Adults.

The conservation of world culture collections, and particularly of objects relating to performance, requires a deeper understanding of not only their historical significance, but of their connection to contemporary communities. In the twenty-first century, the preservation of material physicality is not always the most vital responsibility of the conservator. The paradigm shift proposed by a post-normal scientific approach to materials conservation engages source communities and contemporary performers as experts to be consulted in the conservation of performative objects such as musical instruments, puppets and costumes. By viewing these objects not only as self-contained artefacts but also as facets documenting a cultural tradition, the role of the conservator and the museum at large is to encourage and enhance living links between the collection and the community from which they originate. Recognising their accountability beyond the self-appointed role of property holders, conservators and museums move into a position of co-guardianship. The
collection becomes an aspect of a complex cultural heritage, determined by the community of origin first and foremost.
Taiwan proposes an unusual opportunity for contemporary engagement with the ancient Chinese tradition of puppetry. The Taiyuan Asian Puppet Theatre Museum belongs to a larger organisation, the Taiyuan Foundation, working with master performers and new generations of puppet-makers and performers. During an Asialink Arts Residency, emerging conservator, Rosie Cook, worked alongside TAPTM Head of Conservation, Kim
Siebert, and in consultation with puppeteer, Kuo Chienfu, on a project to conserve a selection of budaixi Chinese glove puppet costumes in preparation for a publication on the topic of Chinese garments. Reflections upon the performative nature of conservation, as well as discussions with performers and puppet experts, resulted in a treatment informed by the performative nature of puppetry, focused more on dialogue, significance and preventive conservation, than on technical intervention. This paper introduces the context of this conservation project, and demonstrates how engagement and consultation with
puppeteers, as well as considerations of how conservation integrates performance into its practice, have directed the treatment of a selection of budaixi costumes.
English Keywords: potehi, puppet, intangible culture, performance, conservation
Chinese Keywords:

The conservation of world culture collections, and particularly of objects relating to performance, requires a deeper understanding of not only their historical significance, but of their connection to contemporary communities. In the twenty-first century, the preservation of material physicality is not always the most vital responsibility of the conservator. The paradigm shift proposed by a post-normal scientific approach to materials conservation engages source communities and contemporary performers as experts to be consulted in the conservation of performative objects such as musical instruments, puppets and costumes. By viewing these objects not only as self-contained artefacts but also as facets documenting a cultural tradition, the role of the conservator and the museum at large is to encourage and enhance living links between the collection and the community from which they originate. Recognising their accountability beyond the self-appointed role of property holders, conservators and museums move into a position of co-guardianship. The
collection becomes an aspect of a complex cultural heritage, determined by the community of origin first and foremost.
Taiwan proposes an unusual opportunity for contemporary engagement with the ancient Chinese tradition of puppetry. The Taiyuan Asian Puppet Theatre Museum belongs to a larger organisation, the Taiyuan Foundation, working with master performers and new generations of puppet-makers and performers. During an Asialink Arts Residency, emerging conservator, Rosie Cook, worked alongside TAPTM Head of Conservation, Kim
Siebert, and in consultation with puppeteer, Kuo Chienfu, on a project to conserve a selection of budaixi Chinese glove puppet costumes in preparation for a publication on the topic of Chinese garments. Reflections upon the performative nature of conservation, as well as discussions with performers and puppet experts, resulted in a treatment informed by the performative nature of puppetry, focused more on dialogue, significance and preventive conservation, than on technical intervention. This paper introduces the context of this conservation project, and demonstrates how engagement and consultation with
puppeteers, as well as considerations of how conservation integrates performance into its practice, have directed the treatment of a selection of budaixi costumes.
English Keywords: potehi, puppet, intangible culture, performance, conservation
Chinese Keywords:

Oggetti, luoghi ed esperienze di vita quotidiana sono resi protagonisti, animati via via in aspetti magici, comici, sonori, simbolici.  La forte presenza del parlato fa di questi esempi degli ottimi spunti per la drammatizzazione.
In questo senso parliamo di preteatro, cioè di quelle pratiche svolte in un gruppo dove sono presenti parametri di teatralità: un testo-pretesto, una organizzazione spaziale e temporale di personaggi e eventi, la ricerca di linguaggi espressivi e artistici adatti a un pubblico. Volta per volta, la classe si alterna nel ruolo di azione e di fruizione. La rappresentazione vera e propria può durare pochi minuti, ma il tempo lungo della preparazione è il vero nucleo dell'esperienza e si fa modello organizzativo-pedagogico.

Kerala is India's most educationally advanced state. With a literacy rate of 96.2 percent, Kerala stands at the top of the list. According to the 2011 census, the state's literacy rate was 96.11 percent for males and 92.07 percent for females (Article, News 18, SEPTEMBER 08, 2021). Because of the creative teaching and mentoring approaches used, students were able to be curious in class. According to the Kerala State syllabi for pre-primary classes, methodically created with several portions of the learning process that target all types of students. Traditional puppet theatre is a folk art form as well as a performing art form. This art form is now used by teachers as a teaching tool. This allows students to grasp key areas and visualise them in their own unique way. Puppet theatre has a long history, dating back to antiquity as an early method of telling stories. It's used to decipher stories from around the world, as well as certain community ideals. It also necessitates a substantial amount of time and effort in terms of creating puppets and keeping to the design. This form of instruction helped students comprehend certain components of the curriculum fast and successfully during the epidemic.

The article outlines a panorama of reptilian representations appearing in Polish scenography. In dramatic theater, the presence of the animal world is narrowed to allegories or visual elements that refer to European or Oriental iconography. Reptiles find a wider representation in puppet theater: lizards, turtles, crocodiles, dragons, dinosaurs. A synthesis of depictions of the creatures from the twentieth century shows that these animals retain a touch of terror in appearance and character. The XXIst century restores them at the level of the content of the text and the colors, texture and shape of their scenographic realizations.

Qu'est-ce qu'une formation à la mise-en-scène peut apporter aux marionnettistes? Cette conférence tente de délimiter brièvement le territoire des marionnettes en 2019, tout en offrant quelques définitions du metteur-en-scène et quelques fondements sur lesquels il est basé: son rôle, les lois esthétiques et philosophiques du théâtre de marionnettes, la présence du marionnettiste dans la scène, la relation avec le texte, le décor, le sujet, la forme et le geste. Et enfin, au centre de la formation, le développement d'une oeuvre et de la dramaturgie.

Reviewed by Linda Voris, American University With a focus on Gertrude Stein's earliest writing, beginning in 1903 with Q.E.D., Three Lives, and The Making of Americans, to the early portraits of the 1920s, Sarah Posman regards Stein as a vitalist thinker because of her lifelong ambition to create liveliness through her writing style. Stein posed this challenge in terms of intensive movement, asking "if it were possible that a movement were lively enough it would exist so completely [that] it would not be necessary to see it moving against anything to know that it is moving." Posman draws on the late nineteenth-and early twentieth-century speculative thinkers, Wilhelm Dilthey, Henri Bergson, Walter Benjamin and Alfred North Whitehead, whom she deems vitalists according to Deleuze's definition of "life as a differentiating force" (4).

W hen Vijay Ravikumar was in secondary school, he would go on long evening walks with his best friend, exploring the city they lived in: Chicago, Illinois. One night in 2000, they passed a rundown shopfront. In the window, many puppets were on display, and a sign read: "Apprentice wanted". Ravikumar, now a mathematician, had no particular affinity for puppets, but he called the shop the next day. It turned out to be PUPPETEER TO PROFESSOR: FIRST JOB LESSONS Many scientists credit teenage jobs and university or summer side roles for imparting important transferable skills and life experiences. By Jop de Vrieze Vijay Ravikumar's love of puppetry continues to influence how he communicates mathematics and science to the public.

Of all the arts that represent humans, acting is the only one that uses for that process a material identical to its object. 1 Sculpture represents the material human in stone or metal; paintings use canvas and colours that capture the human's visual aspect; finally, poetry describes the human in words, and it is up to the reader to create the corresponding picture in their imagination. Only acting presents humans by means of humanslive humans, that is. An actor is naturally not identically coterminous with the dramatic character they are representing, but their dress and their mask [or mien] attempt to delude us into believing that such is the case; and although we never forget that the character we are seeing on stage is an actor rather than, say, Othello, the visual aspect and the acting seduce us into seeing Othello. If we compare this actor performing Othello witha painting representing Othello, we may clearly see how much greater the theatrical illusion is to that of the painting. The theatre, in using live people, thus achieves the greatest illusion of all the arts, and this quality may explain its tendency towards artistic-and occasionally even un-artistic-Naturalism. There is only one genre of theatre art-a small one, though of great interest-in which the situation is different: puppet theatre. Here, dramatic characters are represented not by live people but by puppets, usually made of wood-which is to say of dead matter, just like in sculptures. However, puppets differ from sculptures substantively in that they speak and 1 First published as Loutkové divadlo.

Alışılagelmiş tiyatro tarihyazımı Karagöz'ü geleneksel tiyatro, halk tiyatrosu ve/veya popüler eğlence kategorileri altında ele alır. Bu kategori içine konulan gösterim türlerine metinsizlik, anonimlik, doğaçlamaya bağlı olma, geleceğe sözlü aktarım ile aktarılmış olma gibi belirli ortak özellikler atanmıştır. Buna bağlı olarak da Karagöz oyunlarının geleneği kullanma biçimleri, çağdaş unsurlara ayak uydurup uyduramaması, yazılı söze ve Batı tiyatrosuna kıyasla potansiyeli her dönem sorgulanmış ve bazı durumlarda da olumsuz yönde değerlendirilmiştir. Ancak Karagöz oyunlarının konuları hakkında bilgi veren yazılı kaynaklara ek olarak on dokuzuncu yüzyılın son çeyreğinden yirminci yüzyılın ilk çeyreğine kadar olan dönemde kayıt altına alınmış ve farklı biçimlerde günümüze kadar ulaşmış metinler göstermektedir ki kâr-ı kadim repertuarın içinde de olsa Karagöz oyunları icra edildikleri zamana ve mekâna göre sürekli olarak güncellenmiş ve icra edenin tercihleri doğrultusunda uyarlanmıştır. Bugün anonim olarak icra edilen pek çok oyun-sürekli kalıpları kopyalanarak çeşitlemeleri oluşmuş ve dünya çapında pek çok müzede yer alan onlarca Karagöz tasviri gibi-bir zamanlar yaşamış ancak adları günümüze kadar ulaşamamış Karagözcülerin özgün üretimleridir. Karagöz'ün, icra edildiği her yüzyılda ve dönemde, icra edenin donanımına ve seyircinin beklentisine bağlı olarak sürdürdüğü dinamikliğini, Batı tiyatrosu karşısında durumunu ve tavrını ele alan bu çalışmanın "Karagöz Külliyatı: Letaif-i Hayal ve Ahmet Necip Efendi" başlıklı birinci bölümü ilk matbu Karagöz oyunu örneklerini ve bunların yayım nedenlerini ele alır. Günümüze kadar ulaşmış en erken tarihli Osmanlıca matbu dizi olan Letaif-i Hayal'in içeriğini inceler ve de bu dizinin yazarlarından biri olarak kabul edilen, Güllü Agop'un yönetiminde Gedikpaşa Tiyatrosu oyuncularından olan Ahmet Necip Efendi'nin tiyatrocu kimliğine odaklanır. "Temaşa Perdesinde Batı Tiyatrosu: Molière ve Karagöz" başlıklı ikinci bölüm ise Osmanlı Levantenlerinden olan Adolphe Thalasso'nun gözlem ve tespitlerini merkeze alarak Karagöz'de Batı tiyatrosunun etkilerini Molière oyunlarından yola çıkarak inceler. "Karagöz'ün Kitaplı ve Perdeli Tiyatro ile İmtihanı" başlıklı son bölümde de Ahmet Necip'in kaleme aldığı Karagöz'ün Aktör Olması yahut Komikliği adlı oyun, yazıldığı döneme uyarlanmış bir kâr-ı kadim fasıl çeşitlemesi örneği olarak incelenir.

The 18 th century drama corpus of Csíksomlyó containing of some 80−85 dramas was thought to be lost until the 1980s when they were rediscovered walled in the Franciscan monastery. It turned out that in 1944, the friars fearing of the front line moving in on them decided to hide their most precious treasure, i.e., the incunabula, the old books and the 18 th century manuscripts. Due to their thoughtfulness, now we may read and publish the manuscripts. The bulk of the manuscripts survived in three volumes: Liber exhibens actiones parascevicas (48 dramas, 1352 pp); Actiones comicae (7 dramas, 194 pp); Actiones tragicae (6 dramas, 155 pp). These 61 dramas have been and will be published in five volumes of the annotated series Régi Magyar Drámai Emlékek XVIII. század [Records of Early Hungarian Drama 18 th century]. 2 In addition, there are cca 25 plays: 5 in Hungarian, 9 in Hungarian-Latin, 11 in Latin and also some fragments. 3 These plays are still kept in boxes packed in 1896 for the millenary exhibition in Budapest and copy books in the monastery and in the Museum of Csíkszereda. Most of these plays are undated and fragmentary. The dramas we know quite a lot about are those copied in the three volumes.

This is the gallery text for the exhibition Shary Boyle: Outside the Palace of Me. It includes co-curated new content for the Museum of Arts and Design that extends the exhibition's original checklist. Co-curated by Elissa Auther and Sequoia Miller with Shary Boyle.