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Product details
File Size: 3324 KB
Print Length: 400 pages
Publisher: Nick Hern Books (July 27, 2018)
Publication Date: July 27, 2018
Sold by: Amazon Digital Services LLC
Language: English
ASIN: B07FDS8ZM5
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Mervyn Millar’s Puppetry: How to Do It is a training manual for those planning to coach workshops in puppet performance in which puppet structure is revealed and puppeteers are visible on stage. A prime example of this form is War Horse, originally mounted by the National Theater of London and Handspring Puppet Company in 2007 and subsequently playing in eleven countries.A full size horse seems to appear on stage but is clearly operated by three puppeteers in full view of the audience. The exposed puppet horse skeleton is made of bamboo and covered in translucent fabric. It is not a horse at all unless we are seduced to believe it is real by the skillful manipulation of the three puppeteers. One key to animation is the breath. Breathing together allows the three horse puppeteers to work together. It also shows us that the horse is alive.Mervyn Millar was part of the original cast of War Horse, and is part of the creative team mounting this and other productions. He has traveled internationally, training subsequent casts of War Horse and also heads his own production company, Significant Object. He has now written a comprehensive 381 page training manual for performing puppetry.Puppetry: How to Do It presents fifty exercises developed during Millar’s career in puppetry. He generously gives credit for the origin of the training strategies. For example he says “More than fifteen years ago, I first met Handspring and they led a two week workshop on making puppets breathe. I can’t remember if I’d had puppets breathing before that, but it chimed with a desire I’d had to see how small and precise a puppet’s movement could be.†(p. xiv)In like manner he credits puppet shows played on the open stage with visible puppeteers as having a key reference point in the Japanese Bunraku. This influence is obvious in the book’s cover photograph. But he adds that the influence of “western theater is often irreverent, restless, experimental and characterized by endlessly changing puppet designs and conventions.†(p. 170) This modern mix of puppetry production is skillfully addressed with new exercises in this manual.Improvisation which includes the workshop participants as audience is an essential element in the training. The workshop participants give the puppeteer a specific feedback of what they see. The workshop performers accept the observations without defending their performance. Unless guided by the leader the workshop can become a debate. The focus is on creating and perceiving the work.The workshop is a rare opportunity to hear in detail what the audience sees on stage. Mervyn gives a number of strategies to make the performers feel safe so that they can open up as the workshop develops. Among them is keeping the atmosphere light and supportive, sometimes playing music during the scene, and importantly, side coaching during the playing.Millar utilizes bullet points for suggested side coaching and for ideas that the leader might want to explore. He suggests knowing the exercise well with the goal of making it the leader’s own. Added commentary before and after each exercise gives depth by offering the author’s personal experience with the issue.The exercises are sequenced from bare hands, to sticks, to found objects and finally to brown paper puppets but there are too many exercises to form a singular curriculum. They are meant to be chosen to fit the needs of the players and the production and the time available. The brown paper full sized shapes walk on the floor while the collection of sticks, about eighteen inches long, walk on on tables. The table is familiar ground for those who have played with a toy theater.The last publication dealing solely with puppet performance is Making Puppets Come Alive by Larry Engler and Carol Fijan published in 1971, 48 years ago, and still in print. This book is a taxonomy of hand puppet gestures. Current practice often mixes puppets with legitimate performance and is eclectic in methods of puppet manipulation. A new handbook is a welcome addition to puppet performance literature.Almost forty years ago my daughter and I had a good time playing with her rag doll, Emmy. My daughter would say “Let Emmy talk, Dad.†I never thought that our play with Emmy could have been the core of a show because there was no performance model available. After studying this book, I see the potential for the puppeteer as a visible performer.
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