Krasheninnikov E.E. Modern Puppet Theater: from Performance to Children’s Play with Puppets
This work is licensed under a Сreative Commons Atribiution - NonCommercial 4.0 International (CC BY-NC 4.0)
Abstract
The relevance of the topic of the article. Puppet theater is a cultural practice, the use of which in purposeful and systemic educational activity becomes an additional resource. The article examines the connection between the existence of a puppet in a modern puppet theater and the developing possibilities of this type of art for the viewer - a child and an adult.
The aim of the study: to study the possibilities of modern puppet theater as a space for understanding children’s play.
Research methods: theoretical and phenomenological analysis.
Description of the research progress. The study analyzes of the features of cultural-historical development and dependence on the social situation with the invariability of psychological laws of preschool age; the openness of a modern child to the emotional experience of the new, but with a different effect of previous stimuli; the insufficiency of the “miracle of revival” for the emergence of a natural experience in the puppet theater due to the richness of experience of visual transformations and animation of digital content. The analysis of the typology of theatrical puppets and the features of their use in modern theater: tablet puppets as the main type; active use and transformation of the subject environment; increasing the role of a “live” actor. In a modern puppet theater performance, the artist is visible and does not hide that he/she controls the puppet; the doll is small and controlled by the artist, who holds it with his hands or sets it aside so that it remains motionless while he/she performs another action; surrounding objects are involved in the game, which become characters, which makes it possible to talk about an analogy with the actions of a child playing, and about the doll as a child’s toy.
Research results. The study shows phenomenon of the similarity of the puppeteer’s position as a child playing a “director’s game” with a doll, and the features of the game direction accompanying the action, when the child directs what is happening, all the time being inside the process and creates an action along the way, experiencing the “resistance of the material”. The puppet theater is analyzed as a means of teaching adults who come as spectators and children to play, if after visiting the theater, adults implement what they see in playing with children; as an effective aid in overcoming cognitive centralization.
Conclusion. The experience of a modern puppet theater can take the director’s play of a child to a qualitatively new level, taking into account the properties of the “subject doll” and contributing to the regulation of behavior, understanding others with changing properties, which must be guided by for the implementation of the idea, the ability to abandon the most interesting and productive scenario, the ability to quickly respond to emerging obstacles and skills abandon the most interesting and productive scenario. The doll sets its own rules for handling it, which leads to the unity of the accommodative and assimilative orientation of the intellect, when the development of a child is considered in the process of separation from visibility, rigid attachment to the surrounding reality, in going out in consciousness beyond the limits of the close time and beyond the visible.
References
1. «Avtostop» V. Zakharov (2018) [“Hitchhiking” V. Zakharov]. Teatr Chudes [Theater of Miracles]. 1 (27).
2. «Solnyshko i snezhnye chelovechki» v Teatre imeni kukol (2018) [“The Sun and Snow Men” at the Puppet Theater]. Teatr Chudes [Theater of Miracles]. 1 (27). 24.
3. Berger Yu. (2014) Chaepitie, i ne tol’ko [Tea drinking, and not only]. Teatr Chudes [Theater of Miracles]. 1 (19). 33.
4. Berman V. (2014) Sem’ dnei kak mgnovenie [Seven days as a moment]. Teatr Chudes [Theater of Miracles]. 1 (19). 27–28.
5. Bunin I.A. (1982) Sochineniya: V 3-kh [Works: In 3 volumes]. T. 3. Moscow. Khudozhestvennaya literatura. 535.
6. Demmeni E.S. (1986) Prizvanie kukol’nik. Sbornik [Vocation is a puppeteer. Collection]. Leningrad. Iskusstvo Publ. 199.
7. Dmitrievskaya M.Yu. (2005) Teatr Rezo Gabriadze. Istoriya tbilisskikh marionetok i besedy s Rezo Gabriadze o kuklakh, zhizni i lyubvi [Theater Rezo Gabriadze. The story of Tbilisi puppets and conversations with Rezo Gabriadze about dolls, life and love]. Saint-Petersburg. Peterburgskii teatral’nyi zhurnal [Petersburg Theater Journal]. 232.
8. Efimov A. (1990) Dvizhushchayasya skul’ptura. Chto zhe takoe: teatr kukol? [Moving sculpture. What is puppet theater?] Moscow. Soyuz teatral’nykh deyatelei RSFSR [Union of Theater Workers of the RSFSR]. 74–88.
9. El’konin D.B. (1999) Psikhologiya igry [Psychology of the game]. Moscow. VLADOS Publ. 360.
10. Goldovskii B.P. (2004) Kukly: Entsiklopediya [Dolls: An Encyclopedia]. Moscow. Vremya Publ. 496.
11. Goldovskii B.P. (2013) Rezhisserskoe iskusstvo teatra kukol Rossii XX veka. Ocherki istorii [Directing art of the Russian puppet theater of the XX century. Essays on history]. Moscow. Vain Graf Publ. 320.
12. Goldovskii B.P. (2017) Sergei Obraztsov: dokumental’nyi roman [Sergei Obraztsov: a documentary novel]. Moscow. Molodaya gvardiya. 496.
13. Goldovskii B.P. Kukol’naya Moskva [Puppet Moscow]. Moscow. Argumenty i fakty Publ. 56.
14. Goldovskii B.P., Dukhanina L.N. (2015) Deti Gefesta [Children of Hephaestus]. Moscow. Vain Graf Publ. 224.
15. Goncharenko A. (2017) S drugoi storony kletki [On the other side of the cell]. Teatr Chudes [Theater of Miracles]. 1(25). 34–35.
16. Goncharenko A. (2018) Rybolovy i okhotniki [Fishermen and hunters.]. Teatr Chudes [Theater of Miracles]. 2 (28). 10–11.
17. Grodno. Subotitsa [Subotica]. Tomsk (2014). Teatr Chudes [Theater of Miracles]. 1 (19). 22–26.
18. Kavaler ordena Ulybki (2011) [Chevalier of the Order of the Smile]. Moscow. GATsTK im. S.V. Obraztsova. 32.
19. Kaz’mina L. (1990) Rabota nad rol’yu v kukol’nom spektakle. Chto zhe takoe: teatr kukol? [Work on the role in the puppet show. What is puppet theater?] Moscow. Soyuz teatr. deyatelei RSFSR [Union of Theater Workers of the RSFSR]. 145–151.
20. Konstantinova I. (2016) Vse, chto vy khoteli znat’ o Trantere [Everything you wanted to know about Tranter]. Teatr Chudes [Theater of Miracles]. 1 (23). 12–15.
21. Konyukhova V.N. (2015) Zarisovki teatral’nogo khudozhnika [Sketches of a theater artist]. Moscow. IKAR Publ. 156.
22. Korchevnikova I. (2018) «Ryazanskie smotriny» v 15-i raz. Esse neofita [“Ryazan bride” for the 15th time. Essay by a neophyte]. Teatr Chudes [Theater of Miracles]. 2 (22). 18–19.
23. Korolev M.M. (1973) Iskusstvo teatra kukol. Osnovy teorii [The Art of Puppet Theater. Foundations of the theory]. Leningrad. Iskusstvo Publ. 112.
24. Krasheninnikov E.E. (2021) Kul’turnye praktiki kak razvivayushchii kontekst. Problemy filologii, perevoda i metodiki prepodavaniya v svete mezhkul’turnoi kommunikatsii: sbornik materialov Vserossiiskoi nauchno-prakticheskoi konferentsii s mezhdunarodnym uchastiem (Magadan, 15 oktyabrya 2020 g.). [Cultural practices as a developing context. Problems of Philology, Translation and Teaching Methods in the Light of Intercultural Communication: Collection of Materials of the All-Russian Scientific and Practical Conference with International Participation (Magadan, October 15, 2020), Electronic resource]. Krasnoyarsk. Nauchno-innovatsionnyi tsentr [Scientific and innovation center]. 195–201.
25. Leningradskomu Bol’shomu teatru kukol 50 let (1982) [The Leningrad Bolshoi Puppet Theater is 50 years old]. Leningrad. Iskusstvo Publ. 206.
26. Malygina N. (2014) Grani vymysla [Facets of fiction]. Teatr chudes [Theater of Miracles]. 1 (19). 30.
27. Malygina N. (2018) V nachale bylo slovo [In the beginning there was a word]. Teatr Chudes [Theater of Miracles]. 2 (289). 16–17.
28. Monova N. (2014) Na kukol’nykh Karibakh [In the Puppet Caribbean]. Teatr Chudes [Theater of Miracles]. 1 (19). 2–3.
29. Monova N. (2021) Interv’yu s dramaturgom Martoi Raitses o vozmozhnostyakh sovremennogo teatra kukol. Character Arc [Interview with playwright Marta Raitses about the possibilities of modern puppet theater. Character Arc]. Teatr Chudes [Theater of Miracles]. 1 (29).
30. Muzei teatral’nykh kukol GATsTK imeni S.V. Obraztsova (2005) [Museum of theatrical puppets of the S.V. Obraztsova]. Moscow. Book House Publ. 216.
31. Naumov N. (2016) Uchimsya rezhissure [Learning to direct]. Teatr Chudes [Theater of Miracles]. 1 (23). 26–27.
32. Obraztsov S.V. (1981) Moya professiya [My profession]. Moscow. Iskusstvo Publ. 464.
33. Piazhe Zh. (1994) Izbrannye psikhologicheskie Trudy [Selected psychological works]. Moscow. Mezhdunarodnaya pedagogicheskaya akademiya [International Pedagogical Academy]. 680.
34. Raitarovskaya N.F. (2010) Vladimir Shtein. Istoriya odnogo teatra i sud’by [Vladimir Stein. The story of one theater and fate]. Moscow. 264.
35. Rekuen E. (2016) Iskusstvo izgnaniya ili izgnanie kak printsip [The art of exile or exile as a principle]. Teatr Chudes [Theater of Miracles]. 1 (23). 16–19.
36. Remova M. (2014) Eksperimenty bel’giiskogo teatra «Puan Zero» [Experiments of the Belgian theater “Poin Zero”]. Teatr Chudes [Theater of Miracles]. 1 (19).
37. Ryazanskii gosudarstvennyi oblastnoi teatr kukol: So mnoi i obo mne. (2008) [Ryazan State Regional Puppet Theater: With me and about me]. 48.
38. Samigullina R.A. (1994) Ot Petrushki k Prometeyu [From Parsley to Prometheus]. Ufa. Kitap Publ. 144.
39. Sergei Alimov: Shtrikhi k portretu (2013) [Sergei Alimov: Sketches for a portrait]. Moscow. Vita nova Publ.32.
40. Smelyanskaya S. (1976) Khar’kovskii gosudarstvennyi teatr kukol imeni N.K. Krupskoi. Muzei [Kharkov State Puppet Theater named after N.K. Krupskaya. Museum]. Khar’kov. Ukrainskoe teatral’noe obshchestvo Publ. 48.
41. Smirnova E.O. (2012) Detskaya psikhologiya [Child psychology]. Saint-Petersburg. Mir Knig Publ. 304.
42. Smirnova N.N. (1983) Iskusstvo igrayushchikh kukol: Smena teatral’nykh system [The Art of Playing Puppets: Changing Theater Systems]. Moscow. Iskusstvo Publ. 270.
43. Speranskii E.V. (1971) Povest’ o strannom zhanre [A Tale of a Strange Genre]. Moscow. Vserossiiskoe Teatral’noe Obshchestvo Publ. 240.
44. Speranskii E.V., Lutskaya E.L. (1983) Khudozhnik Boris Tuzlukov [Artist Boris Tuzlukov]. Moscow. Vserossiiskoe Teatral’noe Obshchestvo Publ. 200.
45. Teatr kukol Shvembergera (2019) [Schwemberger Puppet Theater]. Moscow. Artist. Rezhisser. Teatr. 176.
46. Varshaver O. (2014) Ya veryu kukol’nikam! [I believe in puppeteers!] Teatr Chudes [Theater of Miracles]. 2 (28). 8–9.
47. Vasil’kova A.N. (2013) Dusha i telo kukly: Priroda uslovnosti kukly v iskusstve XX veka: teatr, kino, televidenie [The soul and body of a doll: The nature of the conventions of a doll in 20th century art: theater, cinema, television]. Moscow. Agraf Publ. 208.
48. Veraksa N.E. (2006) Dialekticheskoe myshlenie [Dialectical Thinking]. Ufa. Vagant Publ. 212.
49. X mezhdunarodnyi festival’ teatrov kukol im. S.V. Obraztsova: Teatry kukol stran BRIKS (2019) [X International Festival of Puppet Theaters by S.V. Obraztsov: BRICS Puppet Theaters]. Moscow. 64.
50. XI mezhdunarodnyi festival’ teatrov kukol im. S.V. Obraztsova (2021) [XI International Festival of Puppet Theaters by S.V. Obraztsov]. Moscow. 48.
51. Yurkovskii Kh. (2016) Filosofiya obucheniya kukol’nomu delu. Kukol’nik akter-kukol’nik performer [Philosophy of teaching puppetry. Puppeteer actor-puppeteer performer]. Teatr Chudes [Theater of Miracles]. 1 (23). 6–11.
52. Yurkovskii Kh. (2018) Kukly. Maski. Metamorfozy… Stat’i. Lektsii. Vystupleniya [Dolls. Masks. Metamorphoses ... Articles. Lectures. Speeches]. Moscow. Artist. Rezhisser. Teatr. 408