Help with Puppetry Stigma

[Kar Ma]

I am currently working on a show, The Arkansaw Bear. I designed and built the wishing star muppet-type puppet, Starbright. However, the director has this concept that I must puppeteer behind the flat.

I can not begin to describe the physical pain and suffering it is to do what she is asking. I know television puppeteers have to keep their arms up and their bodies bent but they also have a monitor to look at. I am puppeteering blind, depending on the sound of the actors' voices and movements to help me.

My arm is up, over, and away from the wall, which limits my puppeteering. I am bent over so the audience can't see my head. And I am speaking as loud as I can without shouting. I am between two flats so the sound is muttled.

Puppeteering for the stage (not for film) normally happens onstage. The director has this "concept" that I must not be seen. The puppet frequently slips from my hand, which was resolved by elastically rigging it to my wrist, the audience can't hear me, despite all my efforts to be loud without losing the puppets voice, and my arm is stiff and soar as **** because of the angle she wants me to puppeteer.

She keeps talking about how to resolve all these problems. The simplest solution is, which I've suggested several times, is for me to puppeteer onstage, not off. But she doesn't want me to be seen. A good puppeteer, which I consider myself fairly good for being fairly new to the genre, looks at the puppet while puppeteering. The audience looks where the actor looks, which would be the puppet. Now she wants to mike me. We open in two days and I am beyond frustrated. There's even more to the story. This thread would take forever to explain.

What can I do to at least ease the pain? How does one with some puppetry knowledge, explain to another, who knows NOTHING about puppetry, how to make it work without killing the actor? I even asked the director, "What is your concept worth if it's going to cost the actor's health?" She said, "Well, we've got to figure out how to make it work." I said, "It will work if I puppeteer in front of the flat." She said, "No. We have to figure out how to make it work behind the flat."

It's not working. I have tried so many things. Puppeteering for this show is not fun anymore. Please help. If you at least read all the way through this thread then you are truly appreciated.

 

[ravagefrackle]

the thing here is you are their to make the directors vision come to life, if his vision does not include you on stage in full site of everyone that is his right,

Puppetry is not about being comfoartable.,

I have puppeteered inside set pieces for hours at a time in a very cramped positions, I have spent hours in walk around suits on low budget jobs that did not have proper ventilation systems, I have done hour long live shows in side a small puppet booth outside in the summer heat with another puppeteer , holding numerous puppets and props , and performing very physical comedy,

puppeteering is not for the faint of heart, your job is to suffer thur the pains of the blocking and make the character come to life,

I assume what you are doing is at a theme park type of set up. you dont say how many shows a day you are doing but perhaps they should consider bringing in a another performer so the two of you can alternate thru the day ,

performing behind a flat is a time tested way of working a puppet , its the most basic form of puppet theatre and it sounds like that is what the director really wants,
perhaps the change should be made to the flat , maybe they can cut off some hieght so it is not such a stretch,

you should also be doing exercises to streghthen your arms, off hours should be spent working out your muscles so that you can endure the rigors of puppetery, its not all doll wiggiling fun, puppetry is hard work, always has been always will be

 

[TheCreatureWork]

Hey Kar Ma,
I agree with the previous posting however, I believe that we shouldn't have to "suffer" for our art. My girlfriend is a Occupational Therapist and is looking into long term effects puppetry has on performers- alot of puppeteers have back problems and knee and hand problems later in life. I believe alot of these problems might be able to change with form and exercise.I know that this doesn't help your problem but here are my suggestions:
1) Like revengefrackle wrote previous: make changes to the flat so it is easier to perform.
2) You could also set up or request a video hook up using a DVD player and a homevideo camera if possible.
3) I also know that some puppeteers use a rig that keeps their arm up too. I've never saw this equipment but I believe you could wear a belt and affix a piece of wooden dowel to it. On the top of the wood attach a flat "formed" piece of wood for your elbow.
4) Stick it out- I know this is hard especially if you have to work with someone you don't see eye to eye- finding solutions to each individual problem should solve the big problem. Try not to get personal- even if the director if a complete "moron" in your eyes doesn't mean you should do your own thing- this is character building time.
5) Quit- I would never quit a performance myself no matter what the situation, but remember your reputation is on the line. If your life is in danger or something is against your moral standing then that is a option.but also the easy way out.I would never suggest you quit but I'm letting you know that if you do, you might find yourself not only jobless, but in the future finding it hard to find other work because sometimes the puppetry world is a small one and people do talk to others about who they like to work with and who they don't.at least in the film business they do.
6) Did I mention sticking it out? Try to sit back and watch the Director, are others saying the same as you? If so stop wasting your energy chatting about your problem with her and start focusing on solutions. I find if one person doesn't like someone else they (sometimes) will try to get others involved and thenn you spend the whole time listening to a group of people chat about this person when no one has the guts to go up to the person and fix the misunderstanding. It's always easier to talk about the person rather than talk to the person.don't fall into this trap.

I'll be truthful, in your posting of the problem it sounds to me like the Director is trying to accommidate but the suggestions falls on deaf ears because you have a narrow view of the solution. I recommend being open, and come to the realization that the puppeteer standing infront of the flat is not an option.because it isn't. I'm sorry if this sounds harsh, but you have to work by the Director's rules. I'm not certain how long the production is but look on the bright side: you only have to do it for maybe a couple of months then it's all over! All in all I would say stick it out, I really feel for you, but try mine and others suggestions and hopefully both parties will end up learning and having a positive experience of the situation. At least your audience will have a good time

 

[Kar Ma]

Thank you

Thanks for the advice. I do not plan to quit. I know that would hurt me, reputation-wise. I might consider quitting a show but never follow through.

I have requested a monitor and received a definite 'No'. So, I'm doing the best I can. I know puppeteering can be difficult. I do not deny that.

I think it's that I have worked with this same director before. She's difficult to work with no matter what. I'm frustrated with her. The other actors, the stage managers, and crew are frustrated with her.

I am doing better than I think I am. I always do. I just have to be extra aware of how I angle the puppet over the flat. I've never heard of a rigging to support the puppeteer's arm. That's freakin' brilliant!

We are performing 1-3 shows a day for 4 days. It's not a lot of performances. I DO stretch and strengthen my arm. I am doing far better physically at this point compared to when we began rehearsing.

I am doing what I can to accomodate the director. I still disagree with her but I'm doing what I can to maintain her vision. I will be the professional and do what she asks. I am the only person in the cast with puppetry knowledge (however small that might be). So there is no one who can understand my puppetry frustrations.

You are right, though. I will spend less time and energy convinced I need to puppeteer in front of the flat and more on how to resolve the problems I'm presented with. I'm still learning. This is the first show I've ever puppeteered. I'm grateful to hear from those who've been puppeteering for a while. Thanks for your support and advice. I will quit complaining and deal. Thanks, again.

 

[wes]

Kar ma,

I'm sorry that you have to endure this stuff. My First Puppet Director Did not lets us use any aids when working on stage I would have to contort my body to reach the audience eye level. And when I shot a tv Pilot I had to lay flat on the floor with my hands up to reach the actors who where sitting. I have never hurt so much in my life! I was in pain for a week!

One of my Lifes lessons I have learned and go by Is: Whate doesn't kill us Makes us stronger. Please don't assume that I think what your director is doing is right, (some directors can be a you know what) but in the end you will be a better more expirenced performer.

In time you will be doing your own Directing and performing. Do what ya gotta do! If you can't make it work, make it work for you!

Hope this helps, I like to see some pics of the show!

 

[Kar Ma]

Wes,

Thanks for the encouragement. We had our last dress rehearsal last night. We were finally able to focus on the puppet entrances and some of the puppetry. Everything else has been focused on the acting and dancing from the other performers. Going in with a more positive attitude helped solve some of the puppeteering problems I've been having.

Wow! You puppeteered on your back? I should not complain compared to such an experience.

With all the difficulties I have strengthened my puppetry skills and my left arm. I'm righthanded. I have to puppeteer with my left because I burned my right forefinger hotgluing Starbright. I'm okay. No worries. The show opens tonight. I'm a little nervous. But since I love performing and I have my lines down pat I'm not concerned.

I hope to post pictures of Starbright, the wishing star, soon. She was a rush job. The first star I built did not come out well. The director kept demanding alterations. So the construction was compromised. I had to start over. She's not the perfection I envisioned but considering the time constraints and my other demanding responsibilities (since I am a full time college student) I think she came out okay.

I will see if I can get production pictures. The photographer came in last night to take pics during our dress rehearsal. He does fabulous work.

Also, I looked up your website. Awesome! I love Jose and Captain Pete Barnacle. Can I get a tip or two that you got from Terry Angus on Antron fleece and forming the puppet mouth? I clicked on the Terry Angus link hoping to find some tips but could not.

 

[Buck-Beaver]

In my experience, most directors (though usually not the best ones) are really insecure and have rampaging God complexes. When these types of directors have little experience dealing with puppets they will bring in a puppeteer for their "expertise" and then unfortunately and ignore most of what they have to say. Also, quite often if it goes badly they will turn around and blame the puppeteer because, well, they were brought in because they were supposed to know how to it, weren't they?

There's been a lot of good advice already posted here and there's little that I think I can add to it except say that I empathize. I've reached a point where I prefer just to mostly do my own thing that get in to these types of situations because after awhile they become hopelessly frustrating.

It sounds like you are developing a really good attitude about this situation. Remember the old saying - you can be right, or you can be happy, but rarely both.

 

[Jinx]

A very interesting point of discussion. I seldom disagree with Buck, but in my 30+ years in theatre I don’t think it’s fair to say that most directors are so megalomaniacal. Certainly there are the ones who believe that they are all-knowing, but they are actually in the decided minority. And bottom line, if you knew the director’s tendencies, then you knew what you were getting into.

Artistic differences will always be there, whether puppetry is involved or not. I have worked with directors with whom I’ve disagreed about their approach to a piece, but it’s my job as a performer to be malleable to what they want, not what I want. Granted, a good director seeks the skills and input of his performers, but ultimately directing a show is a benevolent dictatorship, not a democracy. If I have an unpleasant enough experience I simply will not work with a director again, but it is in no way my place to declare them a bad director, merely one with whom I cannot effectively work.

I think that anyone working in puppetry is in for some discomfort. It’s an inherent part of what we do, and it goes back for hundreds and hundreds of years.

Several years ago I was, like you, the lone puppeteer in a play. I wanted a closed circuit TV monitoring system more to see what everyone else on stage was doing so that I could react appropriately. When my request was rejected I took it upon myself to find the necessary equipment and install a monitoring system of my own devising. As long as it didn’t interfere with any other person’s work (i.e. set design, lighting design, etc) I was just fine.

In December of last year I performed in a show with a single puppet who was “live onstage” for the entire duration of the show. It was about a 65-70 minute performance. I was working blind, behind a piece of scenery that required me to curl up sideways on an unlevel surface. I have no problem projecting my voice (I am also an opera singer) but I was miked for this particular show. The key here is to get an audio designer who understands the difference between “public address” audio and “sound reinforcement” audio.

Now here’s the kicker. I was the director of this show. I determined that for this particular script and cast that it would be best to work hidden. I have nothing against working in the open, but sometimes, no matter the skill of the puppeteer (I have been puppeteering for over 35 years), hidden is the best choice for the audience. Ultimately that must be the deciding factor. what is best for the audience. And sometimes that means working puppets in an uncomfortable position. Or singing on a smoke-filled stage. Or dancing on a raked (slanted forward) stage. Or any number of other things that may be unpleasant on stage but look fantastic from the audience. This is why we have directors. To make such determinations. Safety first, but comfort comes much, much further down the line.

One of the best puppeteering experiences I’ve had is manipulating Audrey II in Little Shop of Horrors. I’ve done three different productions of it, and each time it was excruciating; working blind, syncing to another actor’s live voice, wielding almost 100 pounds of foam and steel, spending all of Act II inside the puppet. It was also a marvelous experience to give to the audience. Yes, there is a lot of truth to “suffering for one’s art”.

Break a leg tonight!

 

[TheCreatureWork]

I had quite a few experiences with arm stiffenin' It usually then follows with arm shakes, then the resting of the puppet on the playboard. I remember one of my first gigs was operating two penguins dancing and singing to some 50's song. Well, needless to say I didn't warm up, I just threw on the puppets and began the song. The right armed penguin was fine, however, my left arm started to shake then the puppet began to drop- it was hard because if I had one arm free I could of at least held my arm up using with my other arm. The skit was only 5 minutes but at the end of the song another performer looked at me and said I was pitch white. LOL I recommend drinking tons of water, and keep doing those exersizes! Nerves is another thing, I found in rehearsals I could keep the puppets in sync and did the performance without any troubles but as soon as I was "ON" I found I started to tense right up.I don't know if you do this now but just pretend it is a rehearsal and try to be aware of how tense you are making yourself- this "tenseness" will make you tired faster and then the shakes will start Practise is the best policy in these cases, the more relaxed you are out there the more I find it easier to manipulate the puppet without these problems. I even find myself practicing in my car, usually lip syncing to music.other drivers must think I'm nuts! LOL
PS- Your link to the photo didn't work for me, I might have seen it though- did you build it using the nip and tuck method?

 

[Kar Ma]

Appreciatchya

Jinx & Buck-Beaver,

Thanks for your encouragement and advice. The first show went very well. I had problems with the puppet from the getgo, even though I had none in the last couple of days in rehearsal. I had warmed up my muscles and stretched well but my arms froze up.

I did my first scene with my left and my arm stiffened very quickly. I fought through it for the sake of the show but I know Starbright's mouth wasn't moving very much by the end of the scene. I puppeteered with my right for the next scene. Same problem. I wonder if I didn't drink enough water today, or something.

Tomorrow I plan to eat more protein before the show. I realized I had had some before every rehearsal but not before tonight's performance. I don't know. Any recommendations? Has that ever happened to either of you, or anyone else? If so, what did you do?

Also, the reason I and many others are frustrated with the director is because she doesn't communicate what she wants very well. We ask questions and she says 'yes' or 'no' without explanations. I have learned to work around this by asking a lot of Yes and No questions. It takes forever to figure out what she wants but at least I'm learning how to communicate with her.

I love hearing about other puppeteers' experiences, good or bad, because they remind me that it can be rough to perform but always worth it. I physically pushed through my scenes tonight because I knew the show must go on.

The kids absolutely loved Starbright. There are a couple lines where I/she asks what the characters' wishes are. One of the tech guys told me after the show that kids were answering back with enthusiasm, "I want to make a wish!" He also said that there were moments when the kids were fidgeting and/or not paying attention and the moment Starbright came on they were at attention, watching with mouths gaping open. Hearing such things is very encouraging. This means they knew exactly what she was, a giggly wishing star glad to grant anyone's sincere wish.

I am unsure how to include pictures in these threads but below is the link to my MySpace Starbright pics.

http://viewmorepics.myspace.com/ind...viewPicture&friendID=29708564&albumId=1103041

It's hard to tell in the picture but I used iridescent plastic jewels to create freckles above her mouth and on all her star arms. The director wanted LOTS of sparkle. So I built her, covered he with a coral polyesteresque fabric (since the color didn't come in fleece), painted her with glitter glue, sealed the glitter with slightly watered down Sculpt or Coat, and proceeded to embellish. She's a bit thrown together but I think she still came out okay.

I do not plan to work with this director again. But, again, I have learned so much; about myself, puppetry, working with others (however difficult), and the importance of attitude. I allow myself to become frustrated very easily and maintaining a positive attitude can be challenging for me. However, I do my best to keep on truckin'.

To give an example of how crazy/difficult our director is we started the show 15 minutes late because we were waiting for her. I wanted the stage managers to start the show without her but I knew that it was not my place to tell them what to do. So, I held my opinion (but they could still tell that starting the show late because of the director upset me - but that upset most of the cast anyway).

Thanks, again, for your advice and experiences. I am always open to hear more.