Date: Mon, 5 Oct 2009 12:03:09 -0400
To: puptcrit-AT-puptcrit.org
Subject: Re: [Puptcrit] Educating Puppeteers



On Oct 3, 2009, at 5:04 PM, puppetpro-AT-aol.com wrote:

> Alan Cook wrote:
>
> We can benefit by the entry of new puppeteers, naturally. But new 
> puppeteers need to know that PUPPETRY HAS DEEP ROOTS. It is why I try 
> to preserve puppets of many sources and to share that through 
> exhibits. And whenever I hear someone at a puppet exhibit say "I did 
> not know there was so much TO puppetry" the exhibit succeeded in one 
> of its purposes.
>
> Educating the public is a never-ending job.
>
>
> Thanks, Alan.
>
> John Q. Public doesn't see the need for this, of course. Of what 
> benefit will it be? Who cares? Puppetry, like beer, can be produced 
> for the masses by giant companies or for the elite by micro-brewing 
> companies. But lots of people understand beer. Few people understand 
> puppetry, or what goes into it.=A0
>
> Rolande

John Q. Public doesn't see the need for this???? John Q. PUPPETEER 
doesn't see the need for this!!!!!  How can we expect the public to 
know or understand or respect puppetry or what goes into it if we, 
ourselves, barely grasp much less communicate that? I'm talking about 
the total craft, not just the object or single performance. I'm talking 
about the history, the diversity, the variety, the multiple disciplines 
and so on. We've become specialized generalists. We know a little about 
a lot of our specific trade, but not a lot of any part of it, much less 
all of it. To use your analogy, like beer, we have a vague idea of 
generally what goes into it, but little real knowledge of what goes in 
there, what difference it makes to the outcome, and so on. We follow a 
recipe without knowing what the individual ingredients do and why, yet 
we make the beer/puppet show and lay claim to the artistry. The general 
public has even less knowledge than we do. But, like beer, puppeteer 
and public alike, we know when we consume the end product whether we 
like it or not.

Actually, to a great extent, I don't care if the public knows what goes 
into a production or not. I'd much prefer that they come away satisfied 
with a good production that took them where I wanted them to go. That 
they have enjoyed the bit of theater I have presented, regardless of 
the presence, or absence, or awareness of the fact that I have chosen 
to use puppets as the vehicle. One of the greatest compliments I ever 
received was when a child told me that they really liked the show, but 
where were the puppets? They came expecting a puppet show, and were so 
caught up in the reality I created that they didn't recognize they were 
seeing puppets. I imagine the same is true when they see Sesame Street. 
A child (and adult) sees characters on the show, not puppets, and 
follows the story. I want the same to happen at my show. If they are 
watching the show, thinking "Wow, he sure is a good puppeteer. I wonder 
if he built those puppets. What marvelous manipulation. Where did he 
learn this? Is there more to his art?" and so on, I am not doing my 
job. If any of those things are an after thought, well, I guess that's 
decorations on the icing on the cake. But I'd much rather have them go 
away thinking (and feeling) that was some of the best cake they've ever 
had, that they'd like to have more of that, and try other flavors.

Christopher
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