nc TO PURPEDIEA'S HADBOOK 1. Puppeteer's Rundbook (Page 1 to 28) 2, Theatre Handbook (Paga 1 to Z3} 3, Puppet's Booth (Page2 to 10) 4. How to tiske Uarionettes (Page 1 to 23]‘THE PUPPETEER'S HAND BOOK Fuppeteering ig an art that an be mastered by anyone. The longer ene practices, the better will te his manipulation. Practice will alse give the Puppeteor an understanding of the peculiar characteristics of mrionettes, which mke them sueh an effective and fascinating medium ef oxpression, The word *Puppetecring* signifies the mmnipulation ef a puppet or marionstte. The torm *Pappot® is applied to either puppets or maricnettes, elthough, technically, a puppet is a figure that is slipped on the hand to be operated Like a glove, while « mrionette ida figure on strings sus- pended from & control in'the hands of a puppeteer, To operate the marionette, the puppeteer stands on the stage bridge holding the control, ‘The stringed figure honge to the stage bolow. igure 1 shows a control, "C", to which are attached all the strings except those operating the legs. Tho leg or kneo strings and the kicker string are attached to and operated by the foot bar, "P", which when not In use is secured to the control, 10", Figure 2 shows the control *C*, and the foot bar "P* seperate. Laather hunger marinate on | oleEigure 2. Figure 3 shows the proper method of holding the control, with the left e hand, and Figure 4 the manner of holding the foot tar, in the right hand. Bigure 3 fe4 sarionotte represents a human being. With thet in mind, let a member of the group stand up. Imagine thet this person ig e martonetto, with & string fastened to each side of the head, to each shoulder, to exch Imoe, to each handy and with one string attached to the smi of the back. Pull the imaginary Strings to mke each part of the body respond. Then operate real maricnette from the bridgo, und note the similarity of response to the exerciac just dono. The puppetoer should have the fooling that he is the mrionette hanging below on strings. Work euch string to sce what it doce. Bocomo thoroughly ac- quainted with tho control. The following dircetione and the accompanying illustrations cover al] novenents usually mde by a mrionette and pappetoer Certain rulos most always bo observed. Held eontrol and foot bar as shown in Figuros 3 und h. The enly exception is when & puppoteor is loft~ handed. Never drop the eontrel or foot bar. Held the foot bar in hand oven whon operating hand strings or bew string. Do not jerk the strings. Do not Jct the hands or control be socn by the audtenec.. Koop the head of the con= trol pointed in the dircotion the marionctte faces or walks. Hold tho foot bar at a right angle to the head of tho control whon tho mrionotte milks. Hold the control lightly but firmly. Follow the directions closely.Standing Pigure 5. Lift mcrionetic control from ite hook, bring the figure through ge ontrancc, and plice it on the stucco, Held tho control and foot Ber as shown in Figures 3 ond 4, Beigo tho control until the figure is vract with foct rosting on the floor, cnd hold contrel steady, De not lower control. & narionctte should rover sag. Tho control sid bo tilted slightly formrd, watch will result in tha bow string bending the body slightly giving the inprossion of uttention und the logigul position for walling, Koop it in this position clwuys when it ds or walks. Proctice theraughly until the murfonctte cin bo removed fron ite hook «né instantly placed in this position on the stagt. Bee Figure 5 Figure ad hetions Tense the shoulder strings "8" with the little finger ef tho loft hand to make the head drep ferward, Tho weight af tho body, nornully on tho head strings fHt, is taken up by tho shoalder strings "St. Sve Figura 6 for tho hand position. Relenge tho shoulder strings and gently rudgo the howd. Ropoat theso two spora= tions ono uftcr anothor to mke tho had nod up and dow.Bigure 7. Houd Action (continued Tip the contre] from left te right a8 shown in Figure 7, This operation causes the head to shake. Tengo the shoulder strings "$" as in Figure 6 and ‘ip the control from loft to right. The hoad shakes in two positions, erect and bowed. Grasp tho bow string *BY at tho cnd of the control with the thumb ond first finger of right hand about Gight inches bolow the control. Held tho bow string "Br at tho Point grasped, lot it take the woight of the body, and lowor the gontrel. The body’ will bow fron \ the Wist. Soe Figure 6. Do not lot the foot ber tungle ip the strings during this oporstion, NOTE: THESE LOVEMENTS ARE VERY IMPORTART, FOR THEY ARE DORE ALMAYS DURING ALY TYPE OF PLAY.Grasp both hand strings "A" ut tho houd ef the control about eight Anchos below the control with thumb und first fingor of right hend. This provente tho foot from rising off tha floor whon the hand strings wre rodacd. Raise both hand strings "A*. Tho tio hands come up as high as you raise tho strings. Raise ono hand string at 2 time. Grosp at FA Sune point. Yovo the bonds in ali = FL @ircetions ond motions possible. ge Move each hond the samo my, Do net’ "suw tho air" with the hands. Miko each novenont mean something. A tarionotto hand can do almost any- ‘thing a huran hand can do. Do not Act the foot bar tangle in tho Strings whon working the hands. Soe Figuro 9, Ag Meliing. Alternetely raise und loner osch ond of the foot tur up and down ue shown in Figure 10, Tho left and of tho foot ber raises the loft fout, and tho right cnd ruisos tho right foot. Ikke the fect mrk tine, eve tho marionctto forward, Tho puppetoor noves with tho figure, his fect mk on the bridgo in step with tho sarionctto's fect on tho stage, Tho control in the left hand is raised Gnd lowered with & sort ef bobbing notion on oveh stop tha murienotto takes. 4t the samo time the control is turned te the right ~ iniird - en tho right foot stsp, and turnod to tho lort = outward - en the loft foot step, The figureta foot mst touch tho floor ot cuch stop. Tho movements arc messsury to giv the uarionotte 4 life-like wlke (Thoy may bo hard to do at first, but ms- ter thom one nt 9 tla, until thoy eux 311 be dome ct aneo.) Ptr thorough practice they ¢.n te done costly.Walk the figure one step forward! Elgure 1s Raise one hand, ‘alk it another step end reise the other hand. Walk it a third step and reise both hands, Repeat these move ments doing the step and hand raising nt the seme time. This is done by slipping the miadle finger behind the hand string, raising it quickly and operat- ing the foot bar for the step. See Figure 11. Repeat «ll these movements and ub the same time make the head nod up and down, Repeat the movements again and make the houd shake from side to side. See Figures 6, 7, 11, 5 Turning, Wrap the kickor string eround the third finger of the right hand until it is sade shorter than the knee string, end lift the foet eff the ground. Pivot the marionette in uny direction en the right foot, imagining it fastened te the fleor. “hen the mrionette is turned, loose the kicker string and lower the foot te rorml position on the floor. It 1s possible to turn the mrionette ty using only the foot bar. Raise the left or right leg, pivot en tho right or left respectively, and swing the martonette around, Mochunteslly the first method 18 the mast successful way to tum marien+ ettos. By perfecting it you will huve solved ono of the important points of Yalencing 2 mrtonette und this makes flexibility of eperation easter. Soe Figures 12 and 124 wm the following page.Eigure 12. 6. _Hreeling. Both knees = keep the mrionette's feet statienury. Lower tho control fervurd und down. The figuro lower to its knocs. Keop the uppor body orect. Seo Figure 13. Eigure 12-4Kneeling, (continued) Pigure 1 One knoe - raise the right end of the foot tur to raiso the right knes. Keop the loft foot stationry. Toan the cone trol forward und down. Hold the right foot up and in front of the body. The figure low= ers te the left knoe as the right foot toushos the floor. Hold the right kneo up and keep the uppor tody crect. To kneel on tho right knoe Popent the suits movononts but raise the left end of the foot ber instead. Soe Figura ly. Ropeat ull kneoling movencnts and mike the hend Rod und shake. Merk the bow string *B". Werk the hands ‘Te Sitting. On the floor - keep the Pout stationary and lower the control book und down. Tho figure bends ot tho hips us it Le lowsred to Ruigo the two kmeca cr ruige only ote knoo for differont effocts ufter the figure sits. Seo Figure 15. Munipulate the hands and hoad in the sitting position.sit continuse On chairs, ote. - milk the morionctte te a cheir or sofa. Tura it. Stund it in front of tho cheir, lower the control bock and down ond the figurc onde et the hips and sits, Soe Pigure 16, Nenipalate tho hands and houd in this position. Bs lying Downs On the floor = sit the figure on the floor as tn igure 16, and lewor the eon- trol buck und down until the murionette lies on ita buck. On a sofe or a bed - sit the figure in tho eontor of tho furniture. Lower tho control beck, dem, cnd inward, nmy fren thy sudience, and ot ‘the sume tine raigo the foot bor high ond ewing the logs and foot over and onte the furniture. The kieker string (the oxtre, string attuehed te the toos and vo the foot bar) is used in this oporution. Suc figure 17. aloe2. Turning ove: lay the figure on its back ag in Figure 17. Hold the control with the head of the centre] pointing toward the feot. Turn the control outward and around pointing the epposite direction. Tip the right, now outward, side of the control dovnmrd and raise the left side high. At the same time grasp the bow string "B* and pull, The figure will turn towrd the audience en its stomech, Reise the foot tar end to raise the inside leg and the legs will turn over. See Figure 18, Figure 18. - Ghasp bow oP fring Hoe Ag. Getting up, (from the floor) Riise the control aid bring the figure to a sitting position. uanipulate the foot bar as in Wolking mking both fect mrk time while the control is be- ing raised until the mirionette is erect, Do this movement and move the head Gnd hunds. ° (From & sof or bed.) Raise the control and bring the figure to a sitting position. Raise the foot bur nt the sane time and swing the feet and legs over and off the furni- ture. The mrianette sits on the edge of the sofu or bed. Ruise the control te make the figure stand. Practice this movement with and without moving the head and bends. This operation is the exact reverse of Lying Down, Figure 17.u fend Jumping funning is @ spoeded-up walking action. Manipulate the foot tar as in walking. Reise the ends slightly higher, love the foot bar faster, For Juaping, maize the control high. Reise the foot bar hicher at the sume tine. The figure is 1ifted off the floor, ite knees bent, Swing it ‘through the air and lower the contrel and foot bar as it is placed on its fect at a desired spot. The Jamp con be mde ss long or as high as my bo desired. See Figure 19. Figure 19. 12. “irostd ine Two ouppetecrs hold their controls - Pigures 3 and 4 - with the figures facing ecen other. Yake one marionette jump at the other - Figure 19 -. Aa it Jumps, tho control ef tho escond mrionette is quickly lowered - Figure 16 antl it is on ite bck, Lower the centre] of the first marienette quickly forward und down ag it jumps, miking it full fuce dow on the second mrionctte. Reise und lower toth controls jorkily te give the improssion of a struggle, Soo Figure 20 on the fellowing page. To mke the m.rioncttes wrestle standing up, walk or run thea to owh other with raised bunds. Bring them elese together. Move the hands and foot und control jerkily to give the impression of a strucele. -42-Elgure 20. 13. climbing. Walk GF run the marionette to the tree, fence, or other object to be elimbed. Stand it in front of the object and against it rendy for elimbing. Reise tho left leg = Figure 10 = about three inches from the fleor. Raise the right hond high = Figure 9. heise the entir left leg fe straight and the right hand iz lowered. The have clinbed three inches. aise the right leg another three inches higher and raise the left hond ever the head, Relsc the entire control until the leg straightens and the hand is loworsd. Ropeat these movements in this order to the top of the objoct. Seo Figure 21 on the following ruge, -13-Whon the mrionctte roaches the top, grasp tho kicker string and owing tho left leg over the tres limb or object climbed, and mke the fMgure oit there. Raise the other Log ovor and let ft sit 4n thet position. ow swing ‘tha control away from tho top of the object, and quickly loner it until the figure ia ch the floor. It appears to havo jumped down the other side of the object. LU, Dancdngs A viotrola record or other music is needed for effective dancing, but ‘the movensnts can be practiced without music by beating tims. woke the marionetts dance on both feat by raising the contrel und foot bur as high us desired in time to the music or rhythm. Rulso one log high - Pigure 10 - und wale the figure donee on one foot, then on the other fact. Soa Figure 22-4. Rupost these stops whon the figure is bowing formar! oud loaning beek, Loner the control form.rd ond dew or back and down. hon 3% Le iti ai down the bends will fail to the floor, Reige the foot and lot tho mrionctte dance on its hunds. Sco Figure 22-3, Im ull of those steps the honds cen make various gostures. In uny of tho steps, too, swing the control and foot bar wround in u circle fron left to right or revorso, The mirionutte will dines ins eirelo and will bo morc effoctive, (Sco Figures 22-A and 22-B on following pugo.)Figure 22-4 Figure 2: ndling Proportics, Turning Lights on ond off,--Niuko tho mrionctte"s hand touch the wall switch or lump switch. The Light is turned on or off from offestage on this eucs Sec Figure 9. Resding pupor.-- pleec of nuwsyaper can be fastened to the hand if it is to be permanently used in the play. If it is te he woe! tempo: fasten {t to the orm of u ehatr of sof and muko the marsonette on cuch side ef it ond lock at tt, Seo Figure 9, Tigurc 6, and Piguro 7. Lifting objects or othor merioncttos.- stages colors in soenc painting should be vory much moro brilliant and Whigher in koy than those occuring in nuturo. In addition to flat painting in solid caicr. there are a nunbor of othor mothods of cpplying paint to break up surfaces, an? to give an offect of toxture. Thoso arc as follows: = Serumbling. For rough surface offucts. A fniry dry brash is passed Lightly ovor the surface in such a way cs to partly conceal thy color be~ neath, The strokes should bo fairly even to avoid streaking. Sponging. A flat surfneod spongo is dipped in coler ond wrung out, ‘thon patted gently aver the surface. spottoring. ‘Snapping « brush full of paint over thu surmee a0 that tho color falls in little drops. Do net dip the brush more than half my in the color, and try to koop tho sizo of the spettered draps fairly uniforms Inrge drops will moko the fins] effect uneven. should be kopt in mind thnt seonory is the buckground for a play and is alao tho ploce whore the action occurs. Pointed scencry, in the malny fellg into two classes; roalictis or symbolic. Tho ronlistie scene 1s the oxaet reproduction of a living room er nm outdoor scone, ond it is the background for the play. ‘tho symbolic eceno 1s nn fmaginary setting for the idua or thu mood of the plny. Another typo of sconcry climinates painting, making use of drapus unde of blue or gray monk's c&Sth or velvet. Any othor material will do if it takos light woll. The advontoge of c sct of drapos is that thoy aro a fitting background for ony typo of play, ncoding only tho nocossary proporti al3eTHE STAGE SETTING. Stage lighting is used for certsin definite purposes, whish are in general to illuminate the stage and the performers: to simlate natural Light effects and to suggest the hour or time of day: to heighten scenic i color values: and to symbolize the meaning of the play. Eootlights These are the rew of hights on the frame in front of the stage, either set ins trough in the stege floor or secured to the necl: of the footlight screen shown in Figure 8, They aro usually on throe circuits, red, amber and white, or blue, amber and white, if colored lamps are used. If all white lenge are used with color soroons, they can ell be on ena cireuit. They are controlled by 8 master switch and bya master dinnor, so that they can be turnod on and off instantly, and by branch switches and dinners, 20 that they can be turned on and off or dimmed in color sections. The chief function of footlights is te kill the shadows formed by the overhond lights, Often footlights aro not used ut all. ‘The types in waieh colored bulbs ere used is shown in Figure 15 end Pigure 16. Pigure 15 shows tha comon type of trough reflector built inte the stage floor. PIOURE 15. Figure 16 shows © type of footlight etrip thet can be mde by mounting porcelain sockets or lamp holders on # wood strip, nd ueing reflectors male fron tin cans. PIGURE 16. N ~ -1h-Figure 17 indlestes the same coratruction as Figure 16, but with « top cover end lide in which to run color s¢reens. This permits the use of white lamps entirely. FIGURE 17. the esler screens ure made of plysood or voncer with fine wires strung actoes the france to provont the cellophane or gelatin fram buckling. Thoy my be made in fndividuel framos, as sho, or in e continuous franc with ‘cross divisions soparating the vurious colors. Sec Figure 1? - Ke Piguro 18 shows a wiring diagram for the arrangement of dimer, switeh, and Lumps on brunch circuits te feotlights or strips of other kinds. FIGURE 16. —+— Lamps in Parallel rderlights. These wre arrunged tho samc as the footlights but hang over the stage atove the top of thc curtuin. They are wircd the sim wuy, and are often connected with the footlights so that all tho lighte can bo turned on and off or dinned ut once. -15-Excopt Vhon the stags 16 divided by u scrim or gauze drop, one berdor is sufficiont. It shoald bo hung on tho tack of the proscenium arch frame, ‘with the frame act in tho propor direction to light tho stcgs. Waen a seri is used, uncther torder should be set behind ft, bub in such & location us not to interfere with the manipulation of the puppets or to tangle the strings. A border Gun ba hung at cach side of the proscontun vortioully along the odge of the proscenium sido Pramos, to take the piote of the flacd Lights. Spotlights Theso are individual lights hung overhoed or pluced at the sides of the stage. Thoy arc used to give concentrated Light ot dosired points or to concontrate a certain color. The spotlight lamps cre white. Frames arc uscd with those fixturos te givo color offects, and ure constructed in the sume munnor us thoso shown in Figure 17 = K. Figure 19 shows the atcndard type of spotlight, which consists of a netal ex, with vertilutér holos in top covered by a hood. The lamp is mounted one sliding socket, operuted by the slide hendlc in tho bottom of the bor. The fixture is sccurcd to a pipe or bur bracket with a sot screw fitting. URE 20. Figuro 20 shows « spotlight which can be made froma motal cone or horn. Tho lump socket fa mountud on u wood block buse, with a bright tin roflector behind it. The front portion of tho inside of the funnel should bo painted black to provent diffusing ref'lcctions from the sides of tho funnels Blood lights or Olivettes. Flood lights or olivottes arc used for gencral illumination. They aro oguipped with whitc lamps and arranged for color frames. Thoy may be mounted sirgly or in groups on an adjustablo stand, or hung ut the sides sbave the stag (Sco Figure 21 on following pager) -l6=PIOURE 226 PIGURE 22. pigure 22 shows @ Tlood constructod by ounting & box on ¢, woot stand, the ro eetnted flat white Inafdo, and fitted with seckt end the neconsnry wiring. Qehor in stage Lighting. Tons colors in Lighting roinforse warm colors in coosama aad Secs: wuile thoy dull goal ealers, The reverse ie clso trac. Buery gol0n is Brigntest under light of tho sumo colors Light colors produce less color Shungor in sconcry und Costume than tho wars vivid hucty and are therofors more useful. ight Flot and Cuss. GES Tietorand tho avitchboard operater will work out together ‘the aight plot of the play, which will form « basis for the Ment fee sheet. ‘ghe Light cue sheet foms tho instructions developed darts rehoureals and by close obserrwtien and study of the sertpt for the sperstien of all Tunes throughout the play. This propuration mst bo thorowghy fOr the saemtn ond officiont operetion of Lighting ie ef pararourt impertence in pepsonting c successful performnoos @ehorol_of Lichts. SontESl of all Ligiting on and ckout tho stage should be arrange! OH gno sulzckbourd. A complete wiring dicgran fer ai] the Lighting fecilitice deacribod above is shawn in Pigaro 23+ (Seo Figure 23 on following puge-) “zeFIOURE 23. ol i a fh) Ly \| {1 of ie i | | BL ie | i wo ide || | 1} Mi NI Ply Ll! 1] || || | Man | i | a a Mader diomer / } / eb Meier Suileh Branch dime: | (| z Wee | rl ' Es 2 | is Petes aly jukh There should be ons branch circus strip "FL", and one branch circuit "i" one branch circuit "WM" for spotlights Lights "OL, for sach color in the footlight each color in Border *BL*,-with y and one olrcuit "P" for flood- “leFigure 2h shows a awitehboard layout for efficient Light control, oR ds the main safsty switch controlling all tho current on the board. The ourront is distributed through the switehos "I" to the receptacles "K" and the plugs "S" to the cubles attached to the various stage fixtures, Bech unit ot "T" is composed of e ruby indicnting lamp and two toggle awitehss, One of the pair of toggles opens the -f1o, or throws current into one of the cables through the plugs "8". i'r other togele dims the currant, and by combinations of eritening, © ene ov more of the dimmers *Y* in circuit ‘vith the stage Lights, « portion of thems Twelve separate connecting plugs "S" are shom on che board, Three more moy ® added by plugeing them inte the right side of the recoptacle "I", ‘The owitehos *T* and the pluge *S* should be nunbe-ed to correspond te the ‘iring control. Tho apparatus in mounted on a aleb of heavy fire proof fitre beard. In sotting up the switchborrd, emplo smce shoul? by left behind tho vorrd for work or sdjustmente on the wiring ond eonaoctions, PIOURD 2b.Uheve the sorvicos of an olsctricion or the facilities of a mantul training department are not avatlable, thy simplest my to Light a stage @ is to uso only ono or two uxtunsion lights. Ono over tho stago will bo enough, but one can bo added for a factlight. Tha buly san bo white or colored, as dosired. Seo Figure 254 FIGURE 25. ———Fo WALL OF pase QUTLETS These Lights my be dined by using « dimmor typ: socket, which can be Purchased et most uluctrie shops, or by vmpleying the apparatus shown in Figure 26. FIGURE Be. J 4g 4 ton gallon jar or crock, mhich ts $i2lea with wtor to uhich several pounds of golt is odded. The wire X 16 fastened nround tha woodon stick S, which 1s sooured nt thy botton ond to n motal pie plate Pe T te pioce of brass tubing to rhich 4s secured the wire Y. A lomp ie connacted te X nnd Yand current turned ons Tube T If reiacd in the liguid dims the lonp, If lowered clesor to the pan thy Light intensity is increasod. Wood frano 2 is erected over tha jar asc support for the vires, -20-As ahorm dn Piguro 27, a coffoo can mkes n good roflector lamp, It Gah bo Uasd as o spot Without thu support and base, nnd suspomdod whore desired, or 1t can be sut up ne show. For ao larger flood 4 lard cen, or any sigo Gah Muy bo omployud. Breckot clamps, & plots of motel cttached to tho can and bont at right unglea in front with a sever tar palding ¢ frame in tho bunt port ere uscd t¢ hold a golntin eclor fren. this type oF Light is custly mndo, costs nothing - tha motvrials gun by found anywharo = and fivse tho soko u"fect a8 a costly lump, This Light sin be furthor aluborated ty Buking a camora-Like shutter of tin, festmod at the front to the walls of tho can. A alot should by made in the clue of the oon, halfwoy round, for a Goxtrolling levar which opons rnd clscos thu This dovicu mikus it possible to focus tho light em a Turis ar ane of the atog’. A simpler mothod of focusing is te out a ploco of e rdbo=rd an@ pleee 1 over the color frm, FIGURE 27. hele> Jor Pe Kor weed back 7 nal or peq rg Uegifed wood base -2l-If conditions miko it necessrry to reduce the stage to the simplest possible cloments, un ordinary packing box npproxinately twanty inchos in hetght eon bo substituted for the stoge boxes shown in Pigure 1, The puppoteors enn trke thoir places on tho top of n table sot bohint the box and used inetoud of tho bridge shown, A roil mdo of two by fours con be put toguthar rn orected on the toble in ploce of the bridge Toil. In order te form the proscenium opening, long curtcins eun be drapod at tha sides of the atego, with a short drape ovor the top butwuun then. A curtain te closs the proscenium oponing cen be atruny ca o wine and operated with a draw rope from the sides of tho 6 22+PROFERTILS. 4 good property nan is an invaluable asset to any theatrical organiza tion, He should be selected for mechanical ability, and should be of an inventive turn of mind, for he Will be ealled upon to build and to make many properties whieh, due to their size, cannot be purchased and which Would otilervise prove to be expensive, The property man should have a box in which he can store in order the stage properties required for a given play, so that he can lay hands on anything required at a moment's notice, He should prepare from the seript and during rehearsals a list, so that no deteil of bis worl may be forcotten, and to insure promptaess, For instance, if a character is to enter holling @ newspeper in one scenc, and later to cone on without it, ‘the property man mst have the paper secured to the marionette’s hands when it is hung on the hook rail for the puppeteer, He must reuove the paper ao soon as the figure is off the etage, so that it will be ready for its sccond entrance, Often s stove or a fire may be required, ‘The fire in the stove may be arranged with = small electric lamp, with red cellophane or gelatin over it, If en open log fire ie to be built, large twige or branches of the prover size ean be placed over the eellophane covered lanp. Over the ecllophant lay a piece of large mesh wire netting to which strips of solored crepe paper or crepe de chine are ticd, A suall electric fen laid flat behind the fire Will mike these into realistic flanes, Doors can bo opensd and closed by % long stiff wire attached to the back of the door, Many properties eun be construeted with wood, paper, eardbenrd, glue, and quick drying lacquers, OffaAtarc sound effects Till include balls, Wind, rain, thunder, hoot bouts, and other noises. ‘A board can bo arranged With several Kinds of cleetrie belle, with push buttons, and tho necessary battcrics. Make sure that the battcries are fully charged just before a performanes, & bass drum Will provide very udequate thunder. For Wind, 4 portable vacuum eloanur operated by a rheostat will give a variety of offocts. Rain can be suggoatcd Rith pebbles or shot in e round Wooden choose box, Show can bu simulated with white eonfetti ond an clcetric fan, & pair of cocoanut sholle or wood blocks WEIL give the offcct of hoof beats. Wherever possible, propcrtics should be in shape 80 that they eax be uscd in rchcarsals, ae this will not only holp the property man to arrange hia om cuc List, but will aid mtcitslly in adjusting matters of dotail in the manipulation of the narionottcs.‘The puppet booth con be simple or elaborste. The simplest form 1s @ frame, like o window frame, masked by curtaiis on all sides, placed above the heads of the operetors. The frame is suspe ded from tho coiling or attached to the curtoing. Another simpho type is mde like a three-side drersing screen, ®, o20ning in the middle section above the herds, as if window were put in the screen. A complete booth is made by aiding a beck side to the seraen arrongemait. A more elabernte booth ts shown in Figure i. The front construction is shown in Figure 2. The booth is se arranged thet it can be raised or lowered for different stotures as shom in the lowor parts of Figure 2 cud Figure 3. The back arrengemunt is like the front, Figuro 2, aid both sides 1iks Figure 3. The plan of the whole is shown in Figuro 4, ond marked A in Figure 1, The top section slides through encircling metal breckets fastened to the inside of the lower section at each cormur. Another encircling metul bruckot contuins « turn screw which ts tightoned when the dusired height is reuched. This is shown ut the bottom of Pigury 2, The port marked B ia Figure 1 is shown in Figure 5 wid illustrates the arra.genent of rails arew.d the booth from which the puppets ure suspended, hoad downward. Tho bask mil is for props, Tho booth can be made with lumbur of any sort, or fibro board and pipe, or wood can be substituted fer the pize, er the framo ean bo lumber und drapad with matrigl. Yulour or velvet looks bort, but any drapery materi) 1s suituble, Materinl is used in ony construction from the part marked C in Figure 1, downward to mask thy raisi.g or lowering. Light borders ara placed et both sides of thy proscenium opening and at the top, Garo should by taken to-mask tha lights from the ayes of the cudionce, making them light up the puppets only. ‘The top rail in Pagure 2 is for hanging the top light border. A similur rail ot the buck ts for huoging seonory, ‘Tho pappetoors onter from the back of tho booth undernowth the prep rail.FIGURE 1.FIOURE 2. Trort framing BePIOURE 3. - Side framingFIGURE 4. FIGURE 5.The Stage, 2 . The shadowgraph stege, Like the pupget booth, can be simple or very eleborote. The frome show in Figure 1 is constructed with a sash running in grooves i, the side uprights, so that it cun be rotsed or lowered like © window for adjustment to various heights, Tho seroon is stretched in tho sesh, with the groud line of the scene at a level just above the heads of tho operators. The supporting framework, made of wood, is masked on all sides and bolov the scroen with curtains. Diagonal supporting members koop the frame croct. Soo Figure 2. FIGURE 1.PIGURE 2, For simplor arrangements n ssreon oun bo placed on ony type of support, Lika adosk, or reress q doormy, ard mogked cove and blow and an the sides with drapes er dressing coroons,Lighting If a scroen two feet in length is used, nine 60 watt white balbs will Ye required tc give the proper light intonsity. For the 4"0" screen shown in Figure 1, sixtesn 6@ watt lamps will be required. The Light strip, of border, should be placed 39 inches back ef the screen, with the top edge of the strip level with the greund line in the scene. See Figure 3 This arrangenent is best for multiple red figure from casting shadows. At prevents the reds The lights can be everhoad and back several feet for single red figures, and Gen be a light strip or several 167 watt tults, preferably in reflections. FIGURE 3. Sere’ ld of goand Inn eee Colored gelatine, placed in franes large eneugh to cover the lights, and moved in front of them at the proper point ef the play, Wi tone and ataosphere to the ehadow screen. Beye wank gle esterUse of Figures The type of stage described above is adaptable to the use of both single and multiple rod puppets. The figures should be ordinarily not more than one-quarter the height of the screen. Figure 4 shows the method of operating ‘the multiple rod puppets. FIGURE 4. Screenreon The materials from which the screen is made can be thin white wrapping Peper, ouslin, or balloon cloth. Muslin is the moat practical to use. The shadowsraph sereen material should be stretched on the frase tightly; and the cloth given a light coat of white shellac, to prevent the paint used in painting the scene frou spreading. The various features of the ssene should be painted a dead black, and the work retouched under the operating lights, so thet no Light shows through. In genernl, the ground line at the bottom of the scene should be level, se the shadow figures do net adapt themselves eacily to elinbing up and down. The scone should te designed so as to leave as much clear, sky and backs ground epace as possible, in order that the silhouettes will register without sbetruction. Housess fontes, tress, and other features should be drawn on the sereen 0 as to be in proper sale with the figures. If more than one scena is desired, separate frames should be unde fer each scene. Tho painted side of the screen is set in the sash toward the audience. Elatoration of dotting Sometimes it 16 desirable to build « proscenium to be placed in front ef the sereon frame which will illustrate the architecture of e period or a country in whieh the play originated or in which its ection takes place. A Greck temple or a Chinese pagoda can be built to the proper séale, The Seadongreph sorcen can be pluced at the top of tho doorway betwean the eoluan@. Sueh a setting will add mterially to the character of the performance.Making the Hoad The’ head enn be carved out of a solid piece of soft wood, or modelled with plastic wood, or budlt up With papier mache. The Carved head takes tine to make and it ie & trifle hoavy, althoush it can be hollowed out, but it makes a very good appearance. A tah of plastic wood shaped araund « solid upright plete, a length of @ broom handle for instance, can be modelled like clay inte a head. There will bé some shrinkage whon the plastic wood dries, but the chief objection ta the plastic wood head is that it is expensive. Plagtic woud ean also be used ih a plaster mold like papier macho, tut the meld mast be goaked in water for 2h hours before boing filled, The simplest nethod ig te use papier mache, which is a mixture of mper and peste. Any kind of paper can be used, although the hoavior papor, like wrapping paper, ie best and wall paperer's paste fs bost although flour and water paste is alnost as effective, The first atop is to model the head of plastilene or clay. Model it slightly larger than the size desired to allow for the shrinkage of the molded head. Follow a ploture or a classmate's fentures when modeling. When tho plastilene head is finished, paint it with a thin coat of shellac and wien dry, gronse it with a petroleum greasom-vaseline or just ordinary auto grease that has a petroleum base and is not full of granular substances. Gut the head in helf through each ear. and pour plaster, mixed with water until fairly thick, over the front and back of the head. Square off the top and sidse of the plustor when nearly drys so it will not rell and fall when being filled. when tho plaster is dry after standing overnight, renove the Plustilene eurefully from all parts of the pluster mold. Greare the mold well with petroleum grouse and it is ready for papier mache. Soak the paper in water. Dissalve two to three tablespoon's full of bread flour ih cnough cold water to mix a good paste. Add about a quart ef cold wmtor, und heat and stir until the boiling point. The paste is then ready to use. Apply [t thoroughly ta the soaked puper, torn in anal strips, and press the strips into the plaster mald, smoothing them out, Gover the mold conpletely, filling all the holes for the nose and eyes and athor foutures and build up ubout six complete layers of paper in the mold, Allow the filled mold to dry out thoroughly before removing the papior mache. Aftor removing the papier muche smooth the surfaces of the two head pisces and trin the side of each ge that they fit perfectly. Make a wire looped at cach end, long encuzh to have tho loops extend outside the head over the ears+ Place the wire in the hoad es illustrated in Pigure 1-A. Trim tho neck pioces «11 together and fill qny little spaces with paste, and join ‘the halves of the heads together by pasting stripe ef papier mache over the Line of mecting--cll around each side of tho head. See Figure 1-B. (See Figure 1 on following page.) --Pigure 1. Wire for head strings A > = Ey eed peg When the finished head is thoroughly dry, smooth it well with sandpapor and paint it with « coat of siting made by boiling flake glue in mter, Ada enough wnter te rake the gluc a bit thicker liquid than water. Add a half cup of ehalk-whiting to mike the sizing white which makes it 4 better base over which te paint the funtures. When sizing liquid has reached the boiling point let it cocl until warm bofore using. Size the head and let it dry, O81 points aro bust to use for the fae ond hair, but any kind of house paint te Just us offective. The shape of tho features of the head give o Sluo to coloring, or a sketch made of the chaructor before making it 1s & model te follow. Observe fuces in genersl te note what celors to use and how to bring up vivid enough to overcome the glare ef the stage lights, A goad idea 1s to place the he.d under light from time to time during painting. Light colored paints should not be used on any part of the faeo except when it naturally would cone, tecause--ealled high-lighte--thoy stand oat too Stominently. Eycs should be shadowod, for Instanca, with Light gray, blue, or brown ine turely novicoable shading, just enough to prevont a highlight which would give a popoyed effoet, When tho head is painted and dry, serew a scrow inte the bottom of tho wood neck pioce. Tho sorew oye should be about 3/8 inch in diuneter. Tho somploted head is ready for ageenbly to the body.Making the Body: ‘The upper body is made in the size and shape illustrated, It is modelled, Gast, and built up of papior mache in the same way the head is modo. Tho lower body has a slightly different size and shapo from the uppor body. It is mado just as tho head ie. When tho two hulves cach of the upper and lower body aro joined, a cloth skcloton as it wore 1g Placed butwoon cath half. Soe Figuro 2. A wood shouldor piece is ploced in the uppar part of tho cloth. See Figure 2-0. Figure 2.~ e Tho long cloth sleeves are tacked on the wood shoulder picco, ae show in Figure 3. Figure 3 jatm pieees Tho four hulvus are joined with papior mache aver the cloth and wood piveor. Tho muthod, shapay and sizo is show in Pigure j. Figure 4.‘The upper legs aro shortor than tho lower loge, Both sections are made in two pieGos cach, flit on tho inside ahd rounded on the outside. The back Part of cath leg is cut at am angle at the kmoo to allow then to tend whon lifted. Piguro 5 shows tho size and shapo of these pieces. Figure 3. Any plese of wood cun be used for those parts~-many parts of bexos N aro soft pinc, very uscable and D Gasily obteined. Tho upper parts ef tho uppor logs ere jeined to- gether ovor tho cloth parts left | hanging fron the lower body. Soo Pigure §-D. Tho bottom parts of the upper legs and the uppor parts of tho lowor legs arc Jeinod together over a strip of soft leather. Sco Figuro 3:8, Heavy cloth could be used too, but leathor lusts longer. The lower purts of the lowor log are joined tegether over a strip of lesthor or tleth which is in- sertod inte the fvet. AL] joinings Gre made with glue and tacks. See e oot Tho feet ean be drow: together ar scpuratcly on a bleck of weod large ieee 2Be thon cut out roughly and shaped with a rough file and smoothed with 's fine fila. They aro mado in the shapo of a shoe eletted ators the heal for the losthor or cloth pices which jains it to tho lugs. ‘see Figure Sr0,, JA Lette puto is lore tetwoun oagh leg section ont the eg feos Rese e ilew Flexibility. The Lower log und the foct aro punted a black or brow color, or to ustch any sostumo. Figure 5-P, Ednking the Hands; Those woubors, 1iko tho head, are very oxpressive parts of the marienctto body. The charaster being portrayed should te the cluo to tho formation of tho hand. A woman's hand ta smaller thon a man's, a villains hond is claw. like in contrast to o horo's, and so on. Thoy arc mado just as the head and body parts ure with papior mache, aftor boing modelled and cost. They should Be in proportion to the body, as shown in Figure 7. The most expressive hands, like houds, are thoso carved from wood. Another mothod of making hands is to bond wire into tho shapo and wrap ‘tho wire fingers, palm, and wrist with narrow stulps of adhosive tapo, sie- ing thom woll with glue aftor bonding thon to the desired shape. A1L hands should howo q wrist leng cnowgh to be ingertod into the sleewa hanging fron the shouldors. A long onough wriet, almost te tho ulkow, ives wolght to the hand. Seo Figaro 6, Figure 6. Brist ran info arm piece Hole for sfringing@ sts end Prosorston of tho wartonotte: For 2 marionetto 1§ inches in height che sizo of tho various parts are given in Figure 7, which show the parts that have boon doscribed nasomblod to form the complete figure. Pigure 7. The location of ring serews for stringing the marionutte art show. Cy aneluds, tn addition to those doscritod for the head, twa for the shoulders, two holes in the hands, two rings just above tho know, one for the vow tring which is fixod at contor in the lower part of the uppor e body, and a kiskor string fer the foot, right of loft.Sizo and Proportion of Purniture: Tho proper sizo for tables and chairs to bo used with tho 15 inch martonetts ig shawn in Figure 6. Figaro 8. 6%Cloth body earionuttes: Another ond simpler typo of marionetto body, made of cloth like "Tho Clown" nnrionotts, for which instructions are given hero, is a Mgure out out from pattorns, sewed together, und stuffed. Figure 9 shows patterns for the clown tody, arm and hand. Tho upper body #, tho lowor tedy Ny an@ the lower arm and hand are stuffed. whore the letter *D" is givon, the plesos show are to to cut double, and dotted Lincs show tiang and stitehing, Lincs of stitching aro put in to show the fingors. Pigure 9.Figuro 10 shows the legs and Figure 10, Prut. ‘The logs uro stuffod above and below tho middic stitching. Tho roar foot pico is sowed to tho front and sole, and the narrow middle soction is out and joined to the log after stuffing. The tous,are lined with stitching tho same 25 the fingors. wot a CN Seu together form ankle att TH de oy Piguro iL. Figare Ll shows tho resembled figure. The head is east or medolled in the some manner as the othor typo of marionetie, and is sewod to the neekpiece. sang anasaet s1o-In Pigure 12, patterns arc givon fer the clown costume. Around each ankle, vath wrist, and around tho neck rufflos of a contrasting plain toler should be attached. Thoy aro wade of material 4" wide, pinked or scalloped en the uiges and gethored into doublo muffle, Strings sheuld be provided for tying the nosk opening ot tho back. This eponing mst be large enough s0 that the figuru can be put into tho suit after it is made. D Figure 12. Sleeve 434" Figure 13 shows tho clown in costume. Figure 13.Usking the control and stringing the Marionettes: ‘The control shape and size is shown in Piure 1h. «It is made of any piece of wood large enough, & piece of a box may be used. Care should be taken to seo that the wood contains no knots,or other imperfactions which may cause the contrel te break wien in use. Figure 15 shows the ettachnent of the strings to the control, The footbar has strings attached te each snd whith lead to the knees above the joint. It 1g separate fron the main body of the control, but it rests on the body when not in use over the serew or bolt in front of the cross tar. Athole is made in the center of the footbar for the purpose. Tho strings attached et the onds of the contrel head lead to the hands. Sach hand string is fastened threagh ‘the hand, knatted at the backs The strings on the crozs bar ends loud te the head. The Strings underneath the control and back of the cross bar lead to the shoulders. One string at the back of the contre) jesds te tho lewer part of the lower body-=the small of the back. Figure 16 shows the sontrel and stringr und attachments to the marionette. The leg and bow strings are put through the costume ubout one inch und u half above the point of fastening to avoid pulling up the costume. Figure Lh.Figure 25. CONTROLCostus The cusicet ond bust way te dress a marionotto is to fit und saw the Gostune on tho bedy, Otherwise, a pattern can bo made of papor,and the Ports of the costume cut from the patterns and assembled and then fitted on ‘tho body. ‘The costume should be loose enough, especially at the joints for froo movencnt. Any scraps of witerial, otherwise useless, Gan bo made into martonette costumer. Often elaborate cestumos Gan be assembled from remnants with no oxponse than noodles and throad. Tho inportont olemonts Sn costuming aro lino and color, Tho costume should do twa things; (1) holp tho audience to appreciate the character, (2) afd in distinguishing him from the othor characters. Tho flashy costun- of themcomtrack gambler, os an instance, will illus= tratc his character, as will tho severe black clothes of the minister. In order to distinguish one charactor from another, veriations of color, Lino, und silhouctte showld be so pronounced thet the audience will be ablo to recognize a givun charactor at a glance. Youngs vigorous chzractors should bo costunod in brilliant colors, old people in loss brilliant shados. Long straight lince givo an offoct of dignity and sobriety; short straight Lincs indicat insignificance, and combinod with hortzontel linos give an cffoct of squatnoss. Horizontal Lincs add breadth. Porpendicular Lines ad slondomuse ond height. Round lines and sharp curves indiesto comody. Sharp ungloe end abrupt rigeeg Lines suggest the unroal, the gro- tosque. The Post policy to follow is te draw a ceBtum design for tho various charwetors, kocping in mind tho typo of charactor, its age, and ite relation to thy play und other charactors. algee Animal Marionottes = Tho Bogs In moking the dog, tho head is first modolled and onst in the sane manner duseribed on Pago 1. Tho oars are cut from pioces of honvy brawm suede leather and eusurod to tho hond. Sec Figuro 17. Figuro 17. For thu body, a wood base er skeleton, as shown in Figuro 18, is cut from 3/8 inch or 1/2 ineh uaterial. Figuro 18. Owor, the wood body is built up a body of papicr macho, as shown in Piguro 19+ Figuro 19. Y ° [iF “18+The legs are Garved out of 7/6 inch wood, with holos for attaching to the boty. Seo Figure 20. Figure 29. Tho tall consiete of a strip of brown suode leather, rolled und gluods Figure 21 shows the aseumbloa figure. Figure 21. -16-0S Gre maniguinted by wang of a scparate control, without ettached to hooks at tho upper cmd of tho loge, to tho head, vwith kicker strings en the Ruws. Figure 22.Other typus of marionotte figuroe my bo nade for usc in special produs- tens. The carrot is show in Figure 23, Tho body is meuldod and cast in papier muchc, and is sized and puintod. It may be mude and joined te the fren piote i the samo manner ss tho head ie constructed, as shewn in Piguro 2. Tho fot und hands aro made cf cloth and stuffud, like those for the clown shown in Figure 9 and 10. Tho arms ind loge aro made by braiding long strips of cloth, ind tying thom sccurcly to holes out im the papior macho vedi. Figure 23. “18Figuro 2h shows : tomate, and Figure 25a milk bottle, construeted like the carrot. Figure 2, Figuro 25. 19+Making the Guignol ‘Tho gulgnol differs fron the narienottc in it has no paplor mcho or wood body und, in guncral, no foot. Tho nock is largor and hollow, the wrists nd purt of tho Aunds aro hollow, and ths costume is like a dross. The guignol ie bost likonod to a glove; the yond and wrists are for fingore. and tho coetuns te for thu hind. In tho main, the mothod of making a hind puppot closely fellows tho mothod of making « marionctte. =2=1s Haking tho hoads Wodel tho howd in elay, making tho notk otraight and dbeut 1} inchos in dienotcr. Cast the model snd mike molds, fill it with popier macho, asscublo tho parts as cxplained inl. Making tho Hoad, in tho murionotte scction, and Sizo and paint the head, Sue Figur 1 for the nock shapos Pigure 1. “a.2. iisking the hands: Gloth is tho most practical uaterisl te ugo, Two small plocce gf muslin ef tho desired colar and shapo arc sowed tegothor, soanod at the edgos. The fingers arc stuffed and tho Pinger eutlinos mado with closo stitching. Soo Piguro 2. A soparate picou of muslin, doubled and gowod at onc ogo and at onc ond, Just lomg enough to roneh from the wrist to the taso of tho fingors, is inserted into the hand pice, and both pieces sowed together ut the wrist cdg. Soc Figure 2A, Piguro 2B. Figure 2 Figure 24 Piguro 2B 220licking tho sloth bedy: Anothor picco of muslin 4e pattorned as in Piguro 3. Thon it ts sowed ct one cdgcy honmed at the top, botten ond arn holos, Tho top is modo to fit ever the puppot's nock and is gluod to it. Tho hands are sewed to tho rm hole cdges and the puppot ig rondy for its cestunc, Piguro 3. 2364. Making the [ Tho cuter covering of the pappot follows the pattern ef tho cloth body, which it should somplotcly cover. It fite eloscly at tho nack cnd Le sowud ‘to the loth body at that point. Tho slocves are sumed to the wriste. Tho eoatuns Gun follow ny derign desired, It evn bo wade in finer detail than the cloth body .nd hve a collar, ploats, wero scaus, in fact, wh tovor ono wishes tho pupput character to mur, Soe Piguro he Figure 4.Tho guignel deg te made in twa woys. One type is derigned and butlt oxactly as the othur guignol figuroe. Another dog for riding purpotos ie nade like the warlonstte dog, Pigurv 22 in the marionette scetion, oxeopt for tho wood picces in thy body, which ara climinated, The head and body Both havo a wood nosk picéo, made und inserted like the neck pices in a marionotte head. Figure 17. Tho paplor mache bedy ig mado with a hele in the middle of thc tack ond in tho stomach, large chough for a Rand to pass through. Tho loge aro attached with wire as in the marfonette deg and the body is drapod to hide tho hand, or the logs are omitted and just « drape uscd.Shadowgrapho are quickly and easily made, They are a novel end artistic @ —etins Soot euitea for fantasy or legend, although aentle Cor any subjects Thore are two types of chedowgraph figures, opaque, and translusent. The opaque figures are made fron heavy paper or cardboard, and cast a sharp Bleck silhouette, Tho translucent figures are made from celluloid er parch- ment, varniohed paper, and can be colored te give better eortune and character effoota. Opaque figures are operated by wires or strings, fastened te the moving parts of the figure and held on a single rod, attached to the figure. Trans- luéent figures are operated by rede attached to the hands and legs, supported dy a rod attached to the neck. Joints in translucent figures are made of heavy linen thread knotted on Doth sides of the figure, Short pieces of wire are attached to the hands and feet, which in turn ere pushed inte the control reds. Thia type of figure 1a shown in Figure 1 A. Figure 14 Pigure 1B The neck shown in Pigure 1 A is inserted in a collar and different nonds can be placed in the cellar at any tine to make « different character. The hood in Figure 1B is attached permancntly. The collar rod show in Figure e 14 is tho bedy support. With a neck as in Figure 1B the body is supported ty a red aa shown in Pigure 2, separate rods controlling the movement, =26—Figure 2 shows an opaque figure on a single rod. The wires controlling the movable parts are fastened eround the rod, being pushed up and down for figure movement, The different body parts are cut out as shown in Figure 3 and Joined together with « brass paper fastener which passes through gronmets attached to oach part. Figure 2, Rear view oF figureOpayuo figures should be silhouettes only, There should not be too much attention given to cuts and slits for costume detell or to eye holes. A clean Gut silhowotte is more powerful, dramatically, and more artistic than a black figure embroidered in white.