Glove Puppetry - How to Make Glove Puppets and Ideas for Plays - Three Volumes in One

GLOVE PUPPETRY

HOW TO MAKE GLOVE

PUPPETS AND IDEAS FOR

PLAYS

- THREE VOLUMES IN ONE-

BY

VARIOUS

Copyright © 2011 Read Books Ltd.

This book is copyright and may not be

reproduced or copied in any way without

the express permission of the publisher in writing

British Library Cataloguing-in-Publication Data

A catalogue record for this book is available from

the British Library

CONTENTS

Glove Puppetry for Young Children

D. P. Harding

Plays and Patterns for Glove Puppets

W. Alexandra Marsh

Glove Puppetry

Donald Seager

GLOVE PUPPETRY

for Young Children

By D. P. HARDING

frontispiece

THE PUPPET SHOW

INTRODUCTION

IT is always difficult for anyone who has become an expert to imagine the attitude and standard of a beginner. Consequently the expert, when writing a book, is liable to make one of two mistakes: either she includes so much detail that the beginner loses the main points and eventually all interest; or she writes such vague generalities that it is impossible to gain any useful information from them. Miss Harding has successfully avoided these two pitfalls. She has supplied in this valuable book a survey of the use of puppets in the education of young children which has sufficient detail to take the beginner a long way.

The author is able to write with confidence that she has tried these methods with young children and helps the beginner by pointing out the dangers which can arise from impracticable enthusiasm. Her illustrations and diagrams are, in this respect, most helpful and are the finishing touch to a book which we recommend to teachers of young children.

EDUCATIONAL PUPPETRY ASSOCIATION

The E.P.A. is an association of teachers interested in developing puppetry in school. If you wish to receive further particulars of their work please write to the author of this book who is also a member of the Association.

CONTENTS

I.  A SHORT HISTORY OF THE GLOVE PUPPET

II.  PUPPETS IN EDUCATION

III.  HOW TO MAKE A GLOVE-PUPPET

IV.  THE THEATRE

V.  TEACHING METHODS

VI.  PRACTICAL APPLICATION

VII.  ORIGINAL PLAYS—

RED RIDING HOOD

DING, DONG, BELL

MAGIC APPLES

RICHARD COEUR-DE-LION AND BLONDEL

ILLUSTRATIONS

CHAPTER I

A SHORT HISTORY OF THE GLOVE PUPPET

AT Oxford, in the Bodleian Library, is a manuscript entitled Li Romans du Bon Roi. It was written in 1338, and on it is painted a miniature by Jehan de Grise, illustrating a glove puppet-show in action. This is about the earliest pictorial evidence of any glove or sleeve puppet-show in this part of the world.

Some readers will ask, What are glove puppets? Who invented them? How did they come to this country?

From time immemorial children have played with dolls. These were carved or modelled from every conceivable material, such as stone, wood, bone, and even roots. The forms were very crude, but in the course of time, man began to produce dolls which resembled human beings. His great problem then, was to make these dolls more life-like by giving them movement. After centuries of evolution and experiment, man discovered two ways of giving dolls movement. One was by human aid, and the other by mechanical means. In each case, the method used was hidden from the spectator’s eye. Without doubt the hand method preceded all other means.

No one knows how the puppet theatre started. In all probability it was the natural outcome of a little child playing with a doll. In playing, a child, in his own mind, pretends he is the doll, making the doll act, while he speaks for it. The child is then an actor as well as a spectator, and has created a show of his own.

It is very difficult to trace the different stages in the evolution of the glove-puppet theatre.

To-day glove-puppet theatres are found in most countries. The French call them the Guignol; the Americans, the bodyless puppets; the Germans, the Kasperle Theatre; and the English, the Punch and Judy Show.

It was in the seventeenth century that the glove-puppet theatre predominated.

Punch or Punchinello is supposed to have come to England through an Italian named Porsini. He performed his Punch and Judy show in London. Probably this Italian came over to this country about the time of the Restoration, but there are no records known to prove this.

During the eighteenth century a war waged between the puppet theatre and the legitimate stage. The puppet stage was hated by society, which looked upon the showmen as vulgar vagabonds. Punch represented the people. He was full of humour, yet shameless and brutal. His exaggerated deformities and his dress were just as we see them to-day. Punch’s popularity was great, so great, that he even appeared in Biblical drama. It was in 1703 that he appeared in The Creation of the World, and six years later in The Flood.

Towards the end of the century, Judy appeared as Punch’s wife, to be the foil to all his extravagances.

There was great rivalry among the showmen of that day. They vied with one another to try to produce a more attractive show. Hence the introduction of dog Toby, who was beloved by everyone.

To-day, at almost every seaside town, if we visit the beach, we find Punch busily entertaining not only the little ones, but also grown-ups.

CHAPTER II

PUPPETS IN EDUCATION

THE case for the introduction of puppets into the school work rests on the great scope they afford for speech-training, and the opportunity they give for self-expression. Puppets satisfy the innate love of the child for make-believe. A world of realistic imagery in miniature arouses an ecstatic delight, which, utilised by an understanding and skilful teacher can be a gateway for important educational developments.

The smaller the child the greater that ecstatic joy. That being so, it is as well, when demonstrating before very little children, to keep up the spirit of make-believe and not let them see the puppets apart from the puppet theatre. Later, of course, when they are going to use them themselves, delight in manipulation and joy in becoming a character, take the place of this wonderment. There is a definite call for the teacher to entertain, nay, to enthrall his audience by his own puppet performance and dialogue, but this is only the first step; and enjoyable though it may be, it is not until the children themselves participate in the manipulation and the dialogue, that the highest educational aims are achieved.

Between these two stages, puppet manipulation has to be taught and practised—no mean task. A small cardboard theatre-front is a great help to children when practising; or a table covered with a cloth will serve equally well. It takes a great deal of practice in manipulation before a puppet comes to be alive in the hand of the little operator. Added to that, there is the necessary training in co-ordinating movement with speech. But in such practice lies the secret of the educational value of the use of puppets. The child, happily unconscious of the educationalist’s aims, willingly submits to the training because he longs to be proficient enough to perform in the theatre proper.

Every exercise with puppets leads up to the climax, where the audience is carried away into another world, into the land of make-believe. The Puppet World is the only world for the time being. There is no cognisance of what, or who, is behind the scenes—the audience is temporarily transported to the Land of Faery.

As will be seen later, puppets can be used in any lesson where it is desirable for children to express themselves in speech—in the Speech-training lesson proper, in the dramatising of Nursery Rhymes and stories of all kinds including History, and in the Hygiene and Safety-First lessons. Especially is this so in the case of shy children and those backward in self-expression. Further, to speak through puppets is a considerable aid to children who stutter.

Of course, there are limitations to their use, but the fact remains that the introduction of puppets adds a new zest to the usual routine of all such lessons.

1. Stuffed animal—baize.

2. Carved in wood.

3. Modelled with papier mâché.

4. Stuffed stockinet.

TYPES OF PUPPET HEADS

CHAPTER III

HOW TO MAKE A GLOVE-PUPPET

THERE are several methods of making the heads for glove puppets.

They are:—

(a) Using stockinet, cotton-wool, and wood-wool.

(b) Modelling with papier mâché.

(c) Carving in wood.

Puppet heads made from stockinet are best for little children to use, as they are light and durable, and little fingers do not tire so easily. But the children cannot make them themselves owing to the sewing involved. The teacher, however, will be well advised to make a set of heads of this type for permanent class use.

The children can be taught to make the papier mâché type.

Carved puppet heads are beyond the powers of little children. They need more skill in execution, and though they may have their place in the Puppet Show run by an adult, it is not within the province of this book to describe their construction.

(a) Heads of Stockinet.

Before a stockinet head can be attempted, a paper pattern must be drafted. It is wise to keep the pattern about 2 inches in length. First draw the profile as in Fig. 1. Cut the pattern out and pin it on two thicknesses of flesh-coloured stockinet. Have the rib running from top to bottom. Then cut out and stitch around the edge.

Animal heads can be drafted out, and made in the same way.

Fig. 1. Making the eyes of a stockinet head.

Turn the article the right side out, in readiness for stuffing. Using a small stick or pencil, poke some cotton wool into the nose, and a little into the top of the head. Next, place a cardboard tube, which fits the fore-finger, and is 2 1/2 inches in length, inside the head. Surround the tube with a little wood-wool. This helps to make the head firm; but be sure there is plenty of cotton wool outside again, especially next to the stockinet, in order to get a smooth surface.

When the head is well stuffed and shapely, wind some thread several times around the neck, and fasten with a back-stitch or two, at the back.

With a pencil, mark the places where the eyes will be, and also a line where the mouth will come. Thread a darning needle with a length of thread. Pass the needle from the back of the neck through the head to one of the eyes, make a little stitch, and push the needle back again as in Fig. 1.

Fig. 2. Foundation of papier mâché head.

Do exactly the same with the other eye. Similarly, starting from the base of the neck as before, make a longer stitch for the mouth. Little ears cut from felt, can be sewn on in their proper places.

The painting of the head, and the fixing of the hair will be the same as for the papier mâché heads, This method will be described later on.

(b) Heads made of papier mâché.

In the handwork lesson the children can easily make a papier mâché head. However crude the result, they will be highly delighted with puppets of their own creation.

The following method has been tried out with a class of children between seven and eight years of age, and the results have been highly gratifying. The head can be made in seven stages, each stage being a complete lesson in itself.

Stage 1.

Give each child a cardboard tube 2 1/2 inches long and 3/4 of an inch in diameter. Tear half a sheet of newspaper into narrow strips. Prepare some paste. There are several good cold water paste powders on the market, which can be easily mixed. Around the tube, paste the strips of newspaper until the required size of the head is obtained. Be careful to leave quite three-quarters of an inch of the tube bare, to serve as a neck. See Fig. 2.

Stage 2.

Now take another sheet of newspaper and tear it into small pieces about the size of a postage stamp. Put the pieces into a bowl of water to soak. In the meantime prepare a jar of paste. When the paper is well soaked, squeeze out all surplus water, and place in a saucer ready for use. Paste each piece on the head separately, keeping in mind all the time, the shape of the finished head. Four or five layers will be sufficient. In order to make sure that the child covers the head evenly with each layer, it is a good plan to stick the pieces of paper on, so that the printing on the paper, will first be horizontal and then vertical. Another equally good method is to paste pieces of coloured paper between each layer of newspaper. Now put the head aside to dry.

Stage 3.

Some pulped paper must now be prepared. Tear up a newspaper into very small pieces, the smaller the better. Soak them in water for a couple of days, or if convenient boil them. This hastens the process. When it is cool, pound it up well with a good stout stick until a pulp is formed. Squeeze all the water out and mix the pulp with paste. It is better to add the paste a little at a time in order to get the right consistency. The pulp is now fit to be used.

Stage 4.

Take the unfinished head and allow the children to discuss freely how they are going to model the features. Let them study each other’s faces. Perhaps it will be advisable to have a little practice before modelling with the pulp. An exercise using plasticine would be a great help. The children will now have a good idea of how to tackle the papier mâché head, and they will soon be busy adding a little pulp here, and a little there, until finally they get a fair representation of a head.

To help keep the nose, etc., in position, one, or perhaps two layers of small pieces of paper pasted over the head would be advisable. Leave the head to dry for two days at least. If a fire is available for drying, it would be an advantage.

A little stand would be very useful at this stage. If the head keeps falling over, a lot of damage will result. To make such a stand, get a block of wood 3″ × 3″ × 1″ and into the centre knock a 3 1/2″ nail. Place the tube of the puppet head over the nail and then there will be no fear of the head being damaged before it is dry. (See Fig. 3.)

Fig. 3. Stand for head.

Stage 5.

Next comes the painting. Use poster paint, because it can be easily mixed, and it is much more economical than oil colours. A good flesh tint can be obtained by mixing a very little light red with yellow. Then put a spot of vermilion on each cheek and rub well in. Let this dry thoroughly before attempting to paint the eyes, eye-brows, mouth, etc. This takes about two days.

Stage 6.

The hair can now be painted on. Again use poster paint. The colour will depend on the type of character required. Or if desired, combed wool or silk, answers very well. This will have to be stuck on with glue. Crêpe hair, which can be bought at most hair-dressing establishments, can also be used, but it requires very skilful handling. The results are apt to disappoint, because the hair will not stand a great deal of wear and tear.

Stage 7.

Paint the whites of the eyes a greenish white, and the eye-balls in rings of blue or brown, The eye-brows of course will match the colour of the hair. Vermilion is best for the lips.

This completes the head. There will be great excitement now, and each child will be impatient to have the glove made. A girl will be able to make her own, but a boy can hardly be expected to sew sufficiently well to make a glove. So he will have to look to a girl or perhaps his teacher or mother to help him out.

At this stage the child is so keen and so full of his puppet head, that he will carry home his enthusiasm, and mother or sister will willingly help him with his glove.

The Glove.

To make the glove, take a piece of strong material 8″ × 12″. Fold it in half—the glove will be roughly 8″ × 6″ when completed—and seam the side. Measure two inches down and across from each top corner. Cut across the corners, as in Fig. 4. This will make an opening for the arms and leave sufficient room for the neck. Make a hem, and stitch round the arm-holes and neck. Then, starting from the neck end of the arm-hole, seam the two edges together until about 1 1/2″ are left.

It is not absolutely necessary to put in little sleeves and hands, but they can be put in if desired.

Fig. 4. Patterns of glove, sleeves, hands, etc.

Adults will find little difficulty in the making of glove puppets, but for little children they are rather difficult.

The sleeve should be made from a piece of the same material as the glove. The hands can be cut from flesh-coloured material. Follow the diagrams in Fig. 4.

A ring sewn in the bottom hem of the glove is essential, for hanging-up purposes, especially if the puppet is to be used in the theatre.

The glove is then fixed to the head, by sticking it to the tube with glue. This description applies to what may be termed the skeleton glove. For practice purposes, this will suffice as it is. But for characterising in the puppet theatre, the glove must either be made of the material forming the final costume, and decorative details added, or the skeleton-glove must be clothed in the required costume. Whatever additions are made, they must not interfere with the movements of the hand, within the glove. It is well to remember that the effect created at a distance is the important feature: simple bold outlines are more important than a wealth of detail.

The puppet is now finished, and we come to the theatre itself.

CHAPTER IV

THE THEATRE

FIRST of all we must decide the type of theatre we favour. We can choose either the full size, i.e. the six foot portable fit-up, or the small table theatre. Both have their uses and it would be a good thing to construct the two. The large theatre can have a permanent place in the classroom or hall; the small table theatre is very convenient when visiting another classroom, and for practice work.

(a) The Table Theatre.

For the table theatre, a large showcard with wings can easily be adapted. A window is cut in the centre portion, and a small shelf added. Make small slots in the top of the wings to take the rod carrying the scenery. A plain black cloth through which the child can look, and yet not be seen, will serve very well for the back-cloth.

Fig. 5. Portable Table Theatre.

If this theatre is placed upon a table around which a curtain is draped so that the performers are hidden, the illusion created is complete. This theatre is very handy when a class is practising movements, etc.

Even in a school where space is limited, a small theatre such as has been described has great possibilities, but of course the full-size theatre has overwhelming advantages.

The children love the Punch and Judy theatre. To