Presents numerous ways of making puppets, and ideas for using these to develop speaking and listening skills with young children.

A practical, accessible and inspiring guide to using puppetry in theatre--the perfect entry point for anyone looking to use puppets in their productions, to explore what puppets can do, or to develop their puppetry skills. Written by an experienced theatre and puppetry director, Mervyn Millar's Puppetry: How to Do Itfocuses on the performer and the craft of bringing any puppet to life. No puppet-making is required to use this book: starting just with simple objects, it lays out the skills required to unlock a puppet's limitless potential for expression and connection with an audience. Inside you'll discover fifty practical, easy-to-follow exercises - for use in a group or on your own - to develop elements of the craft, build confidence and help you improve your puppetry through play and improvisation. Also included are sections on different types of puppet, thinking about how the puppeteer is presented on stage and how to direct and devise puppet performances. Ideal for actors and performers, for directors and designers, and for teachers and students of all ages and levels of experience, this book will demystify the art of puppetry, and help you become more confident and creative with all kinds of puppets and objects on stage.

The puppet creates delight and fear. It may evoke the innocent play of childhood, or become a tool of ritual magic, able to negotiate with ghosts and gods. Puppets can be creepy things, secretive, inanimate while also full of spirit, alive with gesture and voice. In this eloquent book, Kenneth Gross contemplates the fascination of these unsettling objects—objects that are also actors and images of life. The poetry of the puppet is central here, whether in its blunt grotesquery or symbolic simplicity, and always in its talent for metamorphosis. On a meditative journey to seek the idiosyncratic shapes of puppets on stage, Gross looks at the anarchic Punch and Judy show, the sacred shadow theater of Bali, and experimental theaters in Europe and the United States, where puppets enact everything from Baroque opera and Shakespearean tragedy to Beckettian farce. Throughout, he interweaves accounts of the myriad faces of the puppet in literature—Collodi’s cruel, wooden Pinocchio, puppetlike characters in Kafka and Dickens, Rilke’s puppet-angels, the dark puppeteering of Philip Roth’s Micky Sabbath—as well as in the work of artists Joseph Cornell and Paul Klee. The puppet emerges here as a hungry creature, seducer and destroyer, demon and clown. It is a test of our experience of things, of the human and inhuman. A book about reseeing what we know, or what we think we know, Puppet evokes the startling power of puppets as mirrors of the uncanny in life and art.

Full of imaginative and creative ideas for using puppets with children in the early years setting.

Explores the amazing world of puppetry. Learn how to make 13 cool puppets, then bring your creations to life.

Join Piggy Rae and her silly friends Bernie Bear, Tommy Turtle, Alistair McMoose and others in these engaging and interactive puppet skits that encourage both laughter and learning. This guide gives you everything you need for lively storytimes. In addition to ten complete scripts, you'll find literacy tips, preparatory checklists of materials and props needed, patterns, lists of books for literacy building displays, activities that relate to the story and promote early literacy, and take-home reproducibles for caregivers that help them reinforce the six early literacy skills. Designed for PreK-Grade 3, the puppet plays are perfect for in-house storytime settings and for community outreach projects. Grades PreK-3.

Theatre-Rites are regarded as pioneers in the field of object-led and site-specific performance, creating ground-breaking work for family audiences since 1995. This book marks the company’s 25th anniversary, offering the first in-depth exploration of artistic director Sue Buckmaster’s visionary practice, in which anything can be animated. This book draws on original research, including five years of in-depth interviews between its authors, images from Theatre-Rites’ archive and Buckmaster’s private collection, detailed observations from the company’s professional training workshops and personal reflections on past productions. A timely and compelling advocacy for the importance of high-quality experimental arts provision for young audiences is made, distilling learning from decades of the company’s professional activities to motivate and empower the next generation of object-led theatre-makers. Theatre-Rites: Animating Puppets, Objects and Sites is an invaluable resource for any puppeteer, actor, dancer, visual artist, poet or student interested in expanding their understanding of how to incorporate puppetry and/or symbolic objects as metaphors in their work.

A CHOICE Outstanding Academic Book Flip through the channels at any hour of the day or night, and a television talk show is almost certainly on. Whether it offers late-night entertainment with David Letterman, share-your-pain empathy with Oprah Winfrey, trash talk with Jerry Springer, or intellectual give-and-take with Bill Moyers, the talk show is one of television's most popular and enduring formats, with a history as old as the medium itself. Bernard Timberg here offers a comprehensive history of the first fifty years of television talk, replete with memorable moments from a wide range of classic talk shows, as well as many of today's most popular programs. Dividing the history into five eras, he shows how the evolution of the television talk show is connected to both broad patterns in American culture and the economic, regulatory, technological, and social history of the broadcasting industry. Robert Erler's "A Guide to Television Talk" complements the text with an extensive "who's who" listing of important people and programs in the history of television talk.

Parker is a normal sixth grader—or he was normal before the puppet. It’s just an old hand puppet, sticking out of a garbage can, and even though Parker’s best friend says leave it, Parker brings the puppet home and tries it on. Or maybe it tries him on. “You will call me Drog!” the puppet commands once they’re alone. And now, no matter how hard Parker tries, he can’t get Drog off his hand. Drog is sarcastic, cruel, unpredictable, and loud—everything Parker isn’t. Worse yet, no one believes that Drog—not Parker—is the one saying the outrageous things that get Parker into trouble. Then Drog starts sharpening his snarky wit on the most fragile parts of Parker’s life—like his parents’ divorce. Parker’s shocked, but deep down he agrees with Drog a little. Perhaps Drog is saying things Parker wants to say after all. Maybe the only way to get rid of Drog is to truly listen to him.