living dolls-story of indian puppets

7/27/2019 Living Dolls-story of Indian Puppets

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Living dolls-story of

indian puppets

Author

Jiwan Pani


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introduction


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Puppets are actors though not human beings.Nor are they merely bits of woods or rags. Just as

mask is consider as the other face of man, so alsowe may consider puppets as the other being.

Since it is endowed with such extraordinary life ofits own, it can carry drama to heights beyond the

reach of human actors.


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PSYCHOLOGICAL EFFECT


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Puppet theatre fascinates not only because they move theaudience by their impersonality, but there are other deep

psychological reasons too.

Some of them are :-

We all wish to have powers over others. It is the wish to makeourselves felt by controlling others destinies. Accordingly the

puppeteer creates his puppets and populates his own world.Perhaps he behaves as a despot or a god.

The other wish is somewhat the same as that of a father whoaspires to fulfill in his son what he has missed in life.Therefore, puppets often perform such acts that we want to

but can not do. This is kind ofsublimation. Thus, because of these psychological reasons puppetry is very

effectively used in correcting delinquency in children.


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HISTORY OF PUPPETRY


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Many scholars said that puppet theater

originated in India and it is from here that thisart moved to other Asian countries.

There are, a number of evidences to prove that

puppetry reached great heights in India as longback as in the early centuries B.C.

Its popularity is evident from the way it hasbeen referred to in poems, especially with

metaphysical content.


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For instance:-

In SRIMAD BHAGAVATA , the god almighty hasbeen linked to a puppeteer who with threestrings- SATTVA, RAJAS and TAMASmanipulates all the beings in the universe.

It is probable that the earliest appearance ofpuppets was in connection with religiousceremonies or as a medium of popularizing

religious legends . And as civilization advancedit was recognized that puppets not only mystify,they also do entertain.


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THREE - DIMENSIONAL

PUPPETS


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1. Kundhei-nacha of orissa

Kundhei + nacha=doll dance Two puppets representing Krishna and the other

Radha.

Group comprises of two persons ;one puppeteerproper and the other drummer-cum-puppeteer.Drummer plays Dholak.

No stage is required.

Puppeteers donot hide behind a curtain and theymanipulate their puppets in full view of audience. Main appeal singing and literary content of the

song.Interspersed humorous sequences enhance itsappeal.


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2. PAVA- KUTHU OF KERALA

Pava+kuthu =doll orpuppet dance

Richer than kundhei-nacha of Orissa(theatrically).

Practised by few families ofParuthipully village.

Influence of kathakaliresulted in starting ofpuppetry calledPavakathakali.


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3. ROD-PUPPETS

Found only in West Bengal andOrissa.

In Tamil Nadu and Karnataka,traditional puppet ismanipulated both by strings androd.

Hand of this puppet figures areattached with rods but aresuspended by strings andmanipulated from above.

Appropriately belong to stringpuppets.


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4. KATHPUTLI OF RAJASTHAN

Kathputli=stringpuppets

The neck ,face and

head of a puppet figureare carved out of asingle piece of wood.

Head carving is done tosuggest the wearing ofa headgear.


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Features-elongatedstylized eyes ,faces

painted yellow ;fewhave white faces.

Dont have legs.

Upper garment

approximate medievalRajasthani dress.

Perform one play on

the story of a legendaryhero Amar SinghRathore.


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5.PUTUL-NACH OF WEST BENGAL

Puppets are of about 3.5-4feet in height.

Have three joints.

Head jointed at the neck

and both hands at theshoulders.

Manipulation is interesting a bamboo-made hub isfirmly tied to the waist ofthe puppeteer.

Puppets stand behind ahead-high curtain.


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Some MORE FORMS OF

THREE-DIMENSIONALPUPPETS


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Glove - puppets


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Stringpuppets or marionettes


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Bommalatam of Tamil Nadu


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Kalasutri bahulye of Maharashtra


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Gombe-atta of Karnataka


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Shadow-theatre


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Also known as shadow-play or shadow show. Different from all otherforms of theatre,including the varioustypes of puppetry. It is a type of puppetryin which flat figures,usually made of leather,are lightly pressed on atranslucent screen with

a strong source of lightbehind.


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FORMS OF SHADOW

THEATRE


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1. PUTLA-NACH OF ASSAM

Putla=doll dance The stylized traditionalhuman theatre is known asBhaona theatre,the plays of

which are known asAnkianat. A traditional performer ofPutla-nach could not belocated, but a few are still

performing this traditionaltype of puppetry in remoterural areas of Assam.


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2.RAVANACHHAYA OF ORISSA

Ravanachhaya =theshadow of Ravana

Theme is exclusivelybased on the Rama

story but is namedafter Ravana.


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3. CHAMDYACHA BAHULYE OF

MAHARASHTRA

Chamdyacha Bahulye =puppets made ofleather.


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SOME MORE FORMS OF SHADOW

THEATRE


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THOL PAVA -KUTHU OF KERALA


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TOGALU GOMBE -ATTA OFKARNATAKA


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Contemporary puppettheatre


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India is said to be the homeof puppetry and thecountry has the longest

and the richest tradition inthe art.

Contemporary creationsare still in their infancy.

Outside India in countrieslikeUSA,USSR,FRANCE,SWEDEN,GERMANY,HUNGARY,POLAND,CANADA contemporary theatreclaims equal status tohuman theatre.


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In India ,kathputli showis famous in cities like

rajasthan,kolkata. In Mumbai ,the Indian

institute of puppetryand Indian puppet

theatre are doingexperimentation.


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Ajay paul of udaipur,mahipatkavi of ahm edavad,r.n.lsrivatsava ofnew delhi,modulkar master of Mumbaiarededicated contemporary puppeteers for drawing inspirationfrom both traditional and modern techniques.

Central sangeet natak akademi at new delhi has donecommendable work for revival of interest in puppet theatre.

In 1970 ,jiwan pani was entrusted the responsibility ofimplementing schemes aimed at reviving interest in bothcontemporary and traditional puppet theatre.


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Preservation and promotion of puppetry was implementedunder jiwan pani supervision.

Suresh dutta came with a conclusion that showmanshipshould get priority over aesthetic considerations.

Indian should realize that both human and puppet theatreneed to look for a brighter future.


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CONCLUSION


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It is however, unfortunatethat in India which has anunbroken tradition of

puppet theatre for morethan two thousand years isyet to awaken to thedesirability of strengthening

the fascinating art. In thecontemporary scene ofperforming arts, puppetry isperhaps the most neglected.


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GROUP MEMBERS

Akshara

Saumya

PriyanshiMegha


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THANK YOU

living dolls-story of indian puppets

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