Playwriting For Puppet Theatre

Playwriting for Puppet Theatre provides a foundation for those puppeteers, teachers and librarians who want to develop suitable scripts for puppet theatre. Mattson explores the difference between traditional theatre and puppet theatre and notes the special characteristics of the various puppets. The important aspects of script writing are then addressed. She considers the many general questions which must be answered by the playwright: the type of puppet to be used, the audience, and availability of resources and facilities. Suggestions are then given for dramatizing original ideas and for adapting well-known stories. The chapter on plot development emphasizes the importance of perspective, transitional material and the need for action. One chapter proposes various ways to develop a character through dialogue, names, and behavior. Another chapter demonstrates how the use of rhyme can add interest and humor to a puppet play. Teachers will find suggestions on how to develop a play on a specific theme or about a specific character. Some attention is also given to the mechanics of writing a play. Includes a group of puppet plays which have been successfully performed by Seattle Puppetory Theatre. Among them are Rumplestiltskin, The Princess and the Pea, The Bad-Tempered Wife, The Golden Axe, The Swineherd, and The Fisherman and His Wife. Production notes follow each script. Several samples of manipulation charts are included which may be used as an aid in blocking the puppets and the puppeteers for the various hand puppet productions.

The Decades of Modern American Drama series provides a comprehensive survey and study of the theatre produced in each decade from the 1930s to 2009 in eight volumes. Each volume equips readers with a detailed understanding of the context from which work emerged: an introduction considers life in the decade with a focus on domestic life and conditions, social changes, culture, media, technology, industry and political events; while a chapter on the theatre of the decade offers a wide-ranging and thorough survey of theatres, companies, dramatists, new movements and developments in response to the economic and political conditions of the day. The work of the four most prominent playwrights from the decade receives in-depth analysis and re-evaluation by a team of experts, together with commentary on their subsequent work and legacy. A final section brings together original documents such as interviews with the playwrights and with directors, drafts of play scenes, and other previously unpublished material. The major playwrights and their plays to receive in-depth coverage in this volume include: * Theresa Rebeck: Omnium Gatherum (2003), Mauritius (2007), and The Understudy (2008); * Sarah Ruhl: Eurydice (2003), Clean House (2004), and In the Next Room (or the Vibrator Play) (2009); * Lynn Nottage: Intimate Apparel (2003), Fabulation or Re-Education of Undine (2004), and Ruined (2008); * Charles Mee: Big Love (2000), Wintertime (2005), and Hotel Cassiopeia (2006).

Contemporary Australian Playwriting provides a thorough and accessible overview of the diverse and exciting new directions that Australian Playwriting is taking in the twenty-first century. In 2007, the most produced playwright on the Australian mainstage was William Shakespeare. In 2019, the most produced playwright on the Australian mainstage was Nakkiah Lui, a Gamilaroi and Torres Strait Islander woman. This book explores what has happened both on stage and off to generate this remarkable change. As writers of colour, queer writers, and gender diverse writers are produced on the mainstage in larger numbers, they bring new critical directions to the twenty-first century Australian stage. At a politically turbulent time when national identity is fractured, this book examines the ways in which Australia’s leading playwrights have interrogated, problematised, and tried to make sense of the nation. Tracing contemporary trends, the book takes a thematic approach to the re-evaluation of the nation that is dramatized in key Australian plays. Each chapter is accompanied by a duologue between two of the playwrights whose work has been analysed, to provide a dual perspective of theory and practice.

Henryk Jurkowski's seminal 1988 text, Aspects of Puppet Theatre, was groundbreaking in its analysis of puppetry as a performing art. This new edition of a classic brings the original text back to life, including four additional essays and a new introduction, edited and translated by leading puppetry scholar Penny Francis. Henryk Jurkowski's seminal 1988 text, Aspects of Puppet Theatre, was groundbreaking in its analysis of puppetry as a performing art. This new edition of a classic brings the original text back to life, including four additional essays and a new introduction, edited and translated by leading puppetry scholar Penny Francis.

Decentered Playwriting investigates new and alternative strategies for dramatic writing that incorporate non-Western, Indigenous, and underrepresented storytelling techniques and traditions while deepening a creative practice that decenters hegemonic methods. A collection of short essays and exercises by leading teaching artists, playwrights, and academics in the fields of playwriting and dramaturgy, this book focuses on reimagining pedagogical techniques by introducing playwrights to new storytelling methods, traditions, and ways of studying, and teaching diverse narratological practices. This is a vital and invaluable book for anyone teaching or studying playwriting, dramatic structure, storytelling at advanced undergraduate and graduate levels, or as part of their own professional practice.

This book maps contemporary playwriting and theatre translation practices and ecologies in the European continent. Whether you are a scholar researching contemporary drama and translation, or a theatre practitioner looking for ways to navigate theatrical conventions in other countries, this book is for you. Through questionnaires and one-to-one interviews with key stakeholders, Dr Laera collects qualitative and quantitative data about how each national theatre culture supports living dramatists, what conventions drive the production and translation (or lack thereof) of contemporary plays, and what perceptions are held by gatekeepers, theatre-makers and other cultural operators about the theatre system in which they work. Through country-by-country descriptions and analyses; interviews with playwrights, translators, directors and gatekeepers; a list of key facts and best practices; and a rigorous assessment of its methodologies, this volume is indispensable for those interested in contemporary European theatre practice.