Puppet

The end of the 20th and beginning of the 21st centuries brought heightened visibility of puppets and performing objects in various fields of cultural performance, so that we might call these last decades ‘a puppet moment’ – as Claudia Orenstein points out in the introduction to the book "The Routledge Companion to the Puppetry and Material Performance" (London, 2014). We are profoundly convinced of the truth of this reflection and we see in this point of view an important research challenge, one that leads toward a discussion about the processes, tendencies, and influences shaping contemporary puppetry in different countries. The intention of our monograph is to present theoretical and practical ideas, analyses and questions which have arisen since the turn
of the century under the influence of the latest puppet performances and works inspired by puppet art. The collection of articles naturally represents only a few of the possible approaches to these topics, but we hope it provides a glimpse of multidirectional contemporary reflection and different perspectives of research now being applied to (and demanded by) puppet art.

Oleh : Nurliana Ulfa NIM.0911210049 ABSTRAKSI Wayang merupakan salah satu seni pertunjukan yang digunakan sebagai sarana kontrol sosial, baik terhadap pemerintah maupun masyarakat dengan menyampaikan kritik sosial dalam pertunjukan wayang tersebut oleh dalang (penggerak wayang) melalui dialog antar tokoh (ginem), cerita (lakon), maupun unsur pertunjukan lain seperti lagu. Salah satu wayang yang melakukan fungsi ini adalah Wayang Kampung Sebelah (WKS). WKS adalah salah satu jenis wayang kontemporer yang menampilkan lakon-lakon tentang fenomena kehidupan masyarakat Indonesia, baik pemerintah maupun rakyat. Salah satu cara dalam menyampaikan kritik sosial tersebut adalah dengan penokohan atau penciptaan karakter tokoh-tokoh wayang. Kampret adalah tokoh dalam pertunjukan WKS yang memiliki sifat dan karakter yang unik, yakni seorang peminum minuman keras, pengangguran, namun memiliki sikap kritis, pengetahuan kebangsaan yang luas, nasionalisme yang tinggi, dan berperan menyampaikan kritik sosial. Tokoh Kampret ini dianalisis dengan teori representasi Stuart Hall, dan metode penelitian kualitatif dengan pendekatan semiotika Roland Barthes. Hasil penelitian ini menunjukkan bahwa Kampret merupakan representasi dari jutaan masyarakat Indonesia yang kehilangan kesempatan untuk menunjukkan potensi pada bangsanya. Hal ini berdasarkan atas situasi yang dihadapi oleh Kampret di kehidupannya dalam ranah ekonomi, politik, sosial, maupun budaya yang mencerminkan situasi dari kehidupan masyarakat yang ia representasikan.

In lieu of an abstract, here is a brief excerpt of the content:
When Czech filmmaker Jan Švankmajer released his film adaptation of the Faust legend in 1994, it was the culmination of a longstanding fascination with the story. His first screen credit was as a puppeteer on Emil Radok's short film Johannes Doktor Faust (1958), made during his time working as a director and designer at the Czech State Puppet Theatre. He had also staged a masked theatre production of Faust in 1962 for the Semafor Theatre in Prague. In the early 1980s, he attempted, unsuccessfully, to restage it at Prague's Laterna Magika, following his state-imposed ban from filmmaking (1972-79), after which he was permitted to work only from officially approved literary sources. By the time he came to make his own feature film version, the long-gestated project had come to encapsulate many of his aesthetic attitudes, as well as his relationship to his home city of Prague. As Švankmajer explained to Peter Hames in 2006:

"When any civilisation feels its end is growing near, it returns to its beginnings and looks to see whether the myths on which it is founded can be interpreted in new ways, which would give them a new energy and ward off the impending catastrophe. The myth of Faust is one of the key myths of this civilisation, and its interpretations are numerous. My Faust is intended to be one of these interpretative returns. I believe that Faust is one of the basic morphological or archetypal situations in which both individuals and civilisations find themselves. Sooner or later, everyone is faced with the same dilemma—either to live their life in conformity with the misty promises of institutionalised 'happiness', or to rebel and take the path away from civilisation, whatever the results. The second path always ends in individual failure, while the first ends in the failure of humanity as a whole. Or is it the other way round? The ambivalence makes no difference when it comes to the tragedy of human fate." (quoted in Hames 122)

Correspondingly, his film, Lekce Faust (although it was released as simply Faust in most territories, this full Czech title translates literally as A Faust Lesson, implying a reflexive examination of the legend itself ) is both a combination of multiple tellings of the story and a highly personal response, lodged firmly in the material realities of contemporary Czech culture. It therefore represents not an authoritative transliteration of a singular Faustus-text into the medium of film, but an indirect thesis on the contingencies of authorship, the chaos of interpretation, and the impossibility of direct adaptation.

It is certainly true that the Faust story has proven to be endlessly malleable for adaptation, appropriation, and revision across all media. The durability of the Faustus story is matched only by the sheer variety of media containers into which it has been poured. Švankmajer's Faust intervenes in this cacophony of retellings by functioning as a stylistic and semic pile-up of references. We are instructed to read the film as an assemblage of visions from different registers and sources, as opposed to an assimilated, re-authored composite that might ordinarily characterize a straightforward film adaptation. As a result, the film is a true chimera, refusing to blend its many textual and historical tributaries into a single stream of influence or definitive interpretation. In order to map some possible routes through this labyrinthine film, this essay first explores the ways in which Švankmajer relates the Faust legend to Prague through references to the story's historical and textual relationship to the city, including forms of folk puppetry and marionette theatre. This leads, via the figure of the puppet, towards an analysis of Švankmajer's use of animation as a way of representing the contested Faustian body as a site of violent conflict and social subjection. [...]

Die Darstellungen von Puppen in zwei Fotografie-Serien des surrealistischen Künstlers Hans Bellmer sowie die Puppenfiguren im Prosawerk "Das falsche Buch" des postmodernen Schriftstellers Paul Wühr antworten in ihrer poetischen Funktion auf den Verfall weltlicher Einheitsvorstellungen. Dabei sind die Positionen von Bellmer und Wühr hinsichtlich der ihren Puppenfiguren zugeschriebenen poetischen Wirksamkeit konträr. Wirken die zerstörten Puppenkörper Bellmers in ihrer Fragmentarität und Inszenierung als "Poesie-Erreger" angesichts einer als nicht mehr intakt erfahrbaren Wirklichkeit, negieren Wührs Puppen jeglichen schöpferischen performativen Akt durch Entsprachlichung und fungieren als "Poesie-Ersticker". Jedoch bedarf es auch nach Wühr der Fragmentarisierung und Dekonstruktion, so wie sie sich in Bellmers Fotografie-Serien darstellt, um Poesie überhaupt betreiben zu können.

The Fabulous Journeys of Alice and Pinocchio si apre con una citazione del romanziere italiano Italo Calvino, tradotta in lingua inglese: “The classics are those books which come to us bearing the aura of previous interpretations, and trailing behind them the traces they have left in the culture or cultures (or just in the languages and customs) through which they have passed” (p. 1). Le parole dello scrittore testimoniano lo spunto critico da cui la ricerca del volume ha avuto origine. Laura Tosi (Professore ordinario presso l’Università Ca’ Foscari di Venezia) e Peter Hunt (Professore Emerito presso la Cardiff University) hanno, infatti, colto la necessità di approfondire l’essenza e l’impatto che Alice’s Adventures in Wonderland (1865), Through the Looking-Glass (1871) e Le Avventure di Pinocchio (1883) hanno suggerito ai lettori di tutte le lingue e le culture con cui sono entrati in contatto.


The Fabulous Journeys of Alice and Pinocchio. Exploring Their Parallel Words. Laura Tosi, Peter Hunt, eds., Jefferson NC, Mc Farland and Company, 2018, 978-1-4766-6543-6 / 978-1-4766-3194-3

ALBUM WAYANG KULIT BANJAR
Mujiyat & Koko Sondari

Jakarta: Kementerian Pariwisata dan Kebudayaan, 2002

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In 2008 I spent 48 hours in Bilbao, Spain, mostly at the Guggen heim, Partly looking at the work of Juan Munos, his sculpture & his writing and thinking about the nature of memory. This essay,  writen over 5 months afterwards, is the result.