Puppet Guild Members

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Puppet Guild Members

Postby Chris » 10 Oct 2012, 22:05

For those of you who are members of the British Puppet and Model Theatre Guild here's a bit of news. You will shortly be getting your copies of The Puppet Master and, for the first time in its history, it will sport a full colour cover.

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Another bit of news, there is now available a fully searchable index to every issue of The Puppet Master from 1946 to date. This is available on the Guild website.

http://www.puppetguild.org.uk/pubmu.htm
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Re: Puppet Guild Members

Postby James » 11 Oct 2012, 09:35

I've been cut in half, lengthways!
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Re: Puppet Guild Members

Postby Chris » 11 Oct 2012, 10:16

That's what comes of standing in the shadow of the Fuschia Fedora.
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Re: Puppet Guild Members

Postby lesclarke » 21 Oct 2012, 14:14

There is a nice article by Stephen Langdale, "Austerity Puppetry" that is of course timely and makes the point that you don't need expensive puppets to do a good show if you are willing to have a go yourself. Not for everyone of course.

Within the article it also mentions that... "Probably the greatest secret of putting on a good performance is rehearsing the shows repeatedly. Whether we had a booking lined up or not we rehearsed constantly, twice a week for several hours." Not really a secret of course!
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Re: Puppet Guild Members

Postby Chris » 21 Oct 2012, 15:10

Yes, I loved that article. That's the way British puppetry was, family do-it-yourself glove puppets and marionettes with a bit of toy theatre and shadows if you were arty-farty. Then affluence brought foreign travel and continental ideas of ensemble puppetry and a blurring of the definition of what was puppetry and Arts Council grants reduced the need to entertain an audience and allowed puppeteers to play for themselves and each other.
And the constant rehearsal - so very true. So often said, so rarely practiced. A classical pianist at the height of their career will still practice for many hours daily. How many puppeteers practice at all? And performing is not practicing. In performance the flow is everything or you lose your hold on the audience, you cannot stop, and check, and experiment, and repeat and modify.
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