Internationaler Tag des Puppenspiels am 21. März 2017

 

Was bieten unsere Mitglieder an diesem Tag

—————————————————————————

»Drei kleine Schweinchen« im Puppentheater erleben und selbst bauen

Am Sonntag, den 19. März 2017 wird um 15.00 Uhr im Krimmelmokel Puppentheater im Deutschen Haus Flensburg wieder die Geschichte »Drei kleine Schweinchen« gezeigt.
Es waren einmal drei kleine Schweinchen. Die spielten am liebsten Verstecken. Bis eines Tages der Wolf kommt. Er hat Hunger und sucht etwas zu fressen. Und wenn der Wolf an Essen denkt hat er vor allem Schwein im Sinn. Er sucht und sucht und kann kein Schwein finden. Aber er hat alles durcheinandergebracht und die Schweinchen wissen jetzt Bescheid. Sie müssen sich schützen. Sie brauchen ein Haus. Jeder baut, wie er kann. Häuser werden durch die Luft gewirbelt und kaputtgemacht und Schweinchen durchgeschüttelt. Es wird gehustet und gepustet und am Ende geht doch noch alles gut aus. Der Wolf zerplatzt und die Schweinchen feiern ihr stabiles Steinhaus.

Nach der Vorstellung können die Besucher des Puppentheaters ab 16.00 Uhr auch noch an einer Bauaktion anlässlich des »Internationalen Tag des Puppenspiels« teilnehmen und sich ein kleines Schweinchen bauen.

Weitere Vorstellungen gibt es am Dienstag, den 21.03.2017 um 10.00 Uhr und am Samstag, den 25.03.2017 um 15.00 Uhr.

Karten für 5 € gibt es ab 14.40 Uhr an der Tageskasse im Krimmelmokel Puppentheater
(Deutsches Haus Flensburg, Seiteneingang links).
Vorbestellungen und Anmeldungen sind unter 0461/8407250 möglich.

—————————————————————————

Guck mal rein! – offene Tür im Plappermaul von 14 – 19 Uhr
mit Szenen aus „Erdmännchens Abenteuer“

Am 21. März ist nicht nur der Internationale Tag gegen Rassismus, sondern auch der Internationale Tag des Puppenspiels. Die UNIMA (internationale Vereinigung der Puppenspieler und Figurentheater-Interessierten) hat dieses Datum bei einer Räteversammlung im Jahre 2002 gewiss bewusst gewählt. Denn die UNIMA bringt Frauen und Männer aus der ganzen Welt zusammen, die zur Entwicklung der Puppentheaterkunst beitragen, mit dem Ziel, diese Kunst in der Verfolgung menschlicher Werte wie Frieden und gegenseitige Verständigung zwischen Völkern unabhängig von ihrer Herkunft, politischer oder religiöser Überzeugung und kultureller Unterschiede zu nutzen.
Daher öffnet das Puppentheater Plappermaul am 21. März auch in diesem Jahr wieder von 14 bis 19 Uhr seine Tür und ermöglicht es kleinen und großen Interessierten hinter die Kulissen zu blicken oder auch mal selbst eine Figur auf die Hand zu nehmen und sich im Spiel auszuprobieren.
Neben der bekannten Guckkastenbühne des Puppentheaters Plappermaul, in der meist der Kasper seine Abenteuer erlebt, ist auch die Bühne des Figurentheaters Heidelberg (Simone und Winfried Hildenbeutel) mit dem Stück „Erdmännchens Abenteuer“ aufgebaut, welches am Samstag, 25.3. um 16 Uhr seine Premiere feiert und für Kinder ab 4 Jahre geeignet ist. Beim Tag der offenen Tür haben die Besucher daher die Möglichkeit, hautnah bei der Probenarbeit dabei zu sein:
Das Überleben in der Wüste ist nicht einfach für ein Erdmännchen: Fleißig graben, unermüdlich Nahrung suchen und aufmerksam auf Feinde achten. Nur gemeinsam können sie gefährliche Bedrohungen meistern. Ein spannungsreiches und komisches Abenteuer mit einem ungewöhnlichen Rudel aus Erdmännchen, Warzenschwein und einem schrägen Vogel.

Es spielen Simone und Winfried Hildenbeutel.

Puppentheater Plappermaul und Figurentheater Heidelberg freuen sich auf Ihren Besuch!

—————————————————————————

Lesung anlässlich des Weltpuppenspieltages

Das Museum für PuppentheaterKultur lädt von 19.00 – 20.30 Uhr zur Lesung im oberen Foyer des Museums, direkt vor den Exponaten zum vietnamesischen Wassertheater.

Es liest die Autorin Karin Kalisa aus Ihrem Debütroman „Sungs Laden“.
Am Anfang ist da nur eine alte vietnamesische Holzpuppe, die in der Aula einer Grundschule Kinder wie Lehrer bezaubert. Noch ahnt keiner, dass binnen eines Jahres der Prenzlauer Berg auf den Kopf gestellt wird: Das Szene-Viertel entdeckt seinen asiatischen Anteil… .Die Aktionen enden schließlich in einem Fest mit großem vietnamesischen Wasserpuppen-Theater… im Kiez-Ententeich!

„Karin Kalisa beschreibt mit Charme, Witz und ganz ohne erhobenen Zeigefinger, wie bereichernd das Miteinander der Kulturen ist.“ (Stefan Kühner, neues Deutschland, 2.9.2015)
Der Eintritt ist frei!

Museum für PuppentheaterKultur
Hüffelsheimer Straße 5, 55545 Bad Kreuznach

—————————————————————————

Internationaler Tag des Puppenspiels am 21. März 2017

International Message of Nancy Lohman Staub – 21. März 2017

In 1929 a few people with a passion for puppetry from only seven countries formed l’Union Internationale de la Marionnette (UNIMA) to promote and develop the art form. I joined UNIMA about 1970 to help satisfy my lifelong fascination with puppets. Now, thanks to the Internet, we can instantaneously connect thousands of likeminded people across national, political and religious boundaries around the world. Recorded programs, performances, conferences, classes and workshops are available around the clock and some are streamed in real time. Academic papers, publications and photographs pop up at a touch on the keyboard. This increased popularity beyond our wildest dreams offers innumerable opportunities to form international coalitions to work together towards our goal of mutual understanding through puppetry.
Puppetry developed in virtually every part of the world. Now hundreds of hours of documentation available on the Internet make many traditional forms accessible. UNESCO recognized twelve of these as representing Intangible Cultural Heritage (ICH). Information, slides, and video footage of them can be seen on its web site. At least eleven additional traditions involving puppetry can be viewed on the Asia/Pacific Cultural Centre Database. Hopefully, viewers are tantalized to delve into the complexity of the performances and the depths of their communal roots. We can utilize traditional puppetry to reveal the common humanity underlying our cultural differences.
One tradition of traditional art is change, so documentation plays an important role. After nearly forty years of dedication by hundreds of us puppetry enthusiasts, UNIMA posted an updated Encylopédie Mondiale des Arts de la Marionnette, published in 2009, on its web site in three languages, English and Spanish as well as French. It puts the history of puppetry at our fingertips. It serves as a significant tool for the numerous museums around the world, which have acquired puppet collections, and the several others dedicated exclusively to the art form. Their collections and catalogs can be found online. Some are experimenting with 3-D imagery and replication for educational purposes. Facilitated by communication on the Internet, preservation of history contributes to future development.
Hundreds of contemporary puppeteers from around the world post excerpts of their live performances on the Internet to attract audiences and presenters. UNIMA sponsors live performances, festivals, conferences and publications and posts coverage on its web site. As intended by the small founding group, the current membership of UNIMA, from over ninety nations cooperate, regardless of differences. With the exponential growth of exposure comes increased responsibility to our audiences and each other. Let us celebrate World Puppetry Day together as friends with shared dedication to the art form by posting the festivities on the Internet, which truly unites us!


Nancy Lohman Staub am Eingang des Zentrums
für Puppetry Arts, Atlanta, Georgia.
Foto: Susan Kinney

Nancy Lohman Staub
Nancy Lohman Staub, a native of New Orleans, Louisiana, USA, acted as one of the planning editors of the Encylopédie Mondiale des Arts de la Marionnette. (World Encyclopedia of Puppetry Arts) and continued as a scientific advisor.
She served on the UNIMA Executive Committee as a Vice-President, the Publication Commission, the Research Commission, the Heritage Commission and currently the Social Justice Commission.
She directed the 1980 World Puppetry Festival and XIIIth Congress of UNIMA at the John F. Kennedy Center for the Performing Arts in Washington, D.C.
She acted as consultant in the formation of the Jim Henson Foundation in New York City to support the field of puppetry in America.
She served as President of Puppeteers of America and Vice-President of UNIMA-USA. She is the founder and Advisory Committee Chair of the Center for Puppetry Arts Museum in Atlanta, Georgia. She published many articles and museum catalog essays. She directed a small puppet theatre in New Orleans, Louisiana for over ten years a very long time ago.

Internationaler Tag des Puppenspiels am 21. März 2016

Am 2. Januar 2016 starb Professor Jurkowski. Dieser für die internationale Puppenszene so wichtige Künstler war eine beeindruckende Persönlichkeit als Lehrer, Forscher, Theaterkritiker und Antropologe. Er widmete sein Leben der Kunst des Puppenspiels. Freude und Bewunderer hatte er in der ganzen Welt.
Um in seinem Geist zu wirken beschloss die internationale UNIMA für den Internationalen Tag des Puppenspiels 2016 den Text zu nutzen, den er in unvergleichlicher Art für den selben Tag im Jahr 2011 schrieb:

International Message for the World Puppetry Day March 21st, 2016
by Henryk Jurkowski

Here I am, in the town of Omsk in Western Siberia. I enter the ethnographic museum where my eyes are immediately drawn to the great display case where dozens of figures – idols of the Ugrofine tribes, the Menses and the Chantes, are to be seen. They seem to greet every visitor. My instinct moves me to respond and I greet them in return. They are magnificent. They represent a surviving trace of the spirituality of generations of primitive humanity. They and their imaginary world are at the root of the first manifestations and images of theatre, both sacred and profane.

Art collections are overflowing with idols and sacred figures which little by little fade from memory. But in the museums there are also puppets which even now guard the imprint of the hands of their creators and manipulators. In other words, these puppets retain traces of human dexterity, fantasy and spirituality. Puppet collections exist on every continent and in almost every country, the pride of their collectors. They constitute important sites for research, guarding vital memories while bringing important proof of the diversity of our discipline.

Art, as with many other human activities, is subject to two tendencies: unification and differentiation. Today we see the co-existence of the two tendencies in cultural activities. We clearly observe how easy it is to travel, in the air or via the internet, which multiplies the number of contacts we make in the various congresses and festivals, leading to greater unification. Soon we will indeed live in the global village of McLuhan.

This state of things does not mean that we have completely lost our feeling for cultural differences, rather that a great number of theatre companies will henceforward use similar means of expression. Styles of puppetry such as the ningyo joruri of Japan and the wayang of Indonesia have been assimilated both in Europe and America. At the same time groups from Asia and Africa are using European puppet techniques.

My friends tell me that if a young Japanese artist can become a virtuoso player of Chopin, so an American can become a master of /joruri /or a dalang performing /wayang purwa. I would agree with them, on condition that the puppeteer assimilates not simply the technique but also the culture associated with it.

Many artists have been satisfied with the exterior beauty of a puppet which nevertheless holds for the spectator the potential for discovering other forms of art. In this way the puppet invades new territories. Even within the actors‘ theatre, it has become the source of many metaphors.

The widespread presence of the ancient figurative puppet is now linked to a movement in inverse proportion to the territory it occupied before. This is due to the invasion of the object and, on an even bigger scale, to everything related to matter. Because every object, all matter, when animated, speaks to us, each demanding its right to a theatre life. Thus from now on the object will replace the figurative puppet, opening a pathway for the artist which leads to a new poetic language, to creations full of rich and dynamic images.

The imagery and the metaphors which were once characteristic of each type of puppet, distinguishing the one from the other, have today become a source of expression for each individual puppeteer. Thus we have a new single, poetic language depending not on a generic tradition but on the talent of the artist and his or her individual creativity. Unification of the means of expression has given rise to differentiation. The global village of McLuhan has become its antipodes. The various means of expression have become the instruments of an individual language which always prefers original solutions. Of course, the tradition of the figurative puppet has not disappeared over the horizon. Let us hope that it will always remain as a valuable point of reference.

Henryk Jurkowski – 2011

 

International Message from Behrooz Gharibpour for the World Puppetry Day 2015

I was ten years old when I saw my first traditional puppet show. I was ten years old when I fell in love with „Mubarak“, a love which has lasted through more than half a century and still occupies my whole mind and being.
I was twenty years old when compelled by this love, I searched every alley and street of Tehran to find the old, weary and worn out performers, and bring them back to life and into artistic circles and university art classes, with the hope that others would fall in love with my idols.
At the time, I imagined I was the only such lover in the world, but soon I realized that I was not and travelled to every corner of the world in order to discover the global fascination with puppetry, meeting admirers of puppet theatre everywhere from Italy, to the UK, India, China, Russia, US, France, Germany, and elsewhere.

I was ecstatic to discover that not only I was not alone and was instead only one among millions of others who loved puppetry, but also that „Mubarak“ is only one among tens of puppets that, for centuries, used comedy and sarcasm to instill hope and put smiles on the faces of men, women, and children who were too often gripped by fear and pain in a world that is full of war, poverty, violence, and destitute.

However, it did not take long for me to realize that my colleagues of the wider community of theatrical arts, looked down on puppetry with contempt, and regarded themselves and their stature too high to be a part of its world.
This was when I became intent on defending my beloved, as a warrior would defend a treasure, and to surrender my life to it and the unknown.
It was in this period that I grew increasingly appreciative of puppetry as a language as vast and deeply rooted as our age-old capacity for joy and sorrow, melancholy and happiness. I realized that every puppet is a symbolic representation of the world around us, and a reflection of every person who has lived before us.

This was when I came to fully appreciate why Omar Khayyam, the eminent Persian philosopher, mathematician, and poet-identified the world of man with a puppet performance in his brilliant quatrain:

We are the puppets and fate the puppeteer
This is not a metaphor, but a truth sincere
On this stage, fate for sometime our moves steer
Into the chest of non-existence, one by one disappear.

Behind the shadow drape are me and thee
But when drape shall fall ,me and thee will be dim.

ln my travels, reading and in conversation with other lovers of puppet theatre, it has become increasingly clear to me that the meaning of puppetry manifests with a diversity of forms and flavors in the minds of the various performers in each corner of the world, from that of Chikamatsu Monzaemon, to temple performers, and Sicilian artists, to the imagination and language of the Dhalangs in Indonesia, and from the perspective of the various directors and performers across the globe.

Thus, I came to firmly believe that we can use this thousand year old language of puppetry to critically perceive the world around us, and in doing so draw larger audiences to attend to and fall in love with this ancient art-form.

I hold the deep conviction that the discovery of puppetry has had as much of a transformative effect as the discovery of the wheel, and has been at least as effective in helping to reduce the distances and the communicational rifts between us.
This is perhaps because even a deeply philosophical puppet play has the ability to awaken an element of childhood in the audiences‘ consciousness, with which they are emancipated from the illusions of age and time, and discover a fantastical world where objects made of wood and other inanimate materials come to life.
Perhaps the biggest responsibility of any artist in the field of puppetry, regardless of their language, citizenship or background, is to awaken this „child“ in the hearts of the millions of fellow human beings who have polluted our world with blood and violence.
Puppetry and us, the admirers of this treasured relic from our ancestors, are thus responsible to help reduce the evil and animosity in our human family, and help remind people of childhood, its joys, and its wonderful dreams …
Today is for those who awaken the child within us, the day for all those who love puppetry from the heart:

Happy world puppetry day.
Behrooz Gharibpour

Behrooz Gharibpour was born in Sanandadj (center of Iranian Kurdistan) September 19th, 1950.
He has activity in Theatre when he was 14 years old and he continued yet now.
He studied in Iran: Tehran University, Faculty of Art-Theatre department (1970-1974) and in Italy: Accademia d´Arte Drammatica Silvio d´Amico (1977-1979).
Behrooz Gharibpour acuities to hold in many different areas but all of those were and are in one direction: extension of cultural space in Iran: as designer and manager.
Founding permanent Children Theatre (Centre of Theatre and Puppet Theatre for Children & Young Adult) 1980.
Changing Tehran’s Slaughter House to Bahman Cultural Center, 1991.
Changing the ex-Head Quarter of Army to Iranian Artists Forum, 2000.
Changing ex workshop to permanent Marionette Opera House: Ferdowsi Hall, 2002.
Changing the ex-House of one of famous actor: Entezami, to Museum of Theatre, 2014.
Behrooz Gharibpour after more than four decades of his artistic life and different National and International Position and getting International awards and Directing many huge Theatre group as like as „Les Misérables“ of Victor Hugo, Uncle Tom Cabin of Harriet Beecher Stowe and so on, focused on puppet theatre again very seriously and found greatest puppet Theatre Group: Aran Puppet Theatre company and parallel created National Opera based on Iranian Music.

Behrooz Gharibpour during 10 years of this dicision put at stage: Rostam & Sohrab, Macbeth, Ashura, Rumi, Hafez,Layli va Majnoon and …
Behrooz Gharibpour, Latest predestinates are Honorary Doctor of University of Theatre & Cinema of Georgia – Tbilisi 2013 and Cavalier (Chevalier) from Italy 2015.
UNIMA thanks Mani Hamidi for translation from Farsi, Idoya Otegui for the Spanish translation and Fabrice Guilliot for the French one.