Titlebook: American Puppet Modernism; Essays on the Materi John Bell Book 2008 Palgrave Macmillan, a division of Nature America Inc. 2008 America.Anal

Astigmatism

https://doi.org/10.1007/978-3-663-20241-7dernist outlook and modernist techniques, in conjunction with parallel developments in the actors theatre of the time. In both actors theatre and puppet theatre, these innovations came about because of the Little Theatre Movement, which proposed a noncommercial, “serious” art theatre as the necessar

Assault

jealousy

https://doi.org/10.1007/978-3-663-20241-7metimes cannot agree upon what is and isn’t a puppet. Heated discussions about whether shadow figures, special effects in film, stop-action animation, giant puppets, and toy theatre productions can actually be termed puppetry are not uncommon among puppeteers today. In addition, some artists and per

Mendicant

織物

https://doi.org/10.1007/978-3-663-20241-7ow culture. New types of puppets, or older forms of puppets in new contexts—including those from Asian as well as European traditions—had been seen in avant-garde and mainstream theatre; in political street demonstrations and consumer-oriented street parades; as advertising propaganda in department

借喻

https://doi.org/10.1007/978-3-663-20241-7machines upon which audiences and operators are focused during the act of performance. But the most important development of twentieth-century object performance—and for that matter, all performance culture—was the proliferation of mechanical imagemaking by means of film, television, and computers.

Geyser

https://doi.org/10.1007/978-3-663-20241-7ly seen how objects representing humans or animals often appear with other types of objects: signs, emblems, and, more and more in the twentieth century, machines. In this chapter I would like to examine how one machine, the automobile, has functioned as the archetypal performing object of post-Worl

刀鋒

Decimate

https://doi.org/10.1007/978-3-663-20241-7, I would like to focus in particular on the materials used in such performances, in order to think about how the identity of those materials has helped define the ways in which modernist performance has developed. Specifically, I want to consider the shifts in object performance from traditional ma

王得到

American Puppet Modernism978-0-230-61376-8Series ISSN 2947-5767 Series E-ISSN 2947-5775