Our puppet play and the IPP

Tuesday 26th November:

On Tuesday, Bekki wasn't there so we compared and contrasted the puppets we had used in the masterclass to a puppet that the art teacher had made in order to find the best qualities in puppets. We did this before making our own so that it would be the best it could be. This is working by influence, where we take good ideas from different sources to make  an even better project. This is very important to our production as it relies on the realism of the movement of the puppet. As there are only three of us and we can only use the one puppet, making it the focal point of our play.

 

The best features in a puppet we now realise after reflection are:

• ease of movement
• joints facilitate movement
• facial features
• correct, realistic proportions
• breathability
• light

Thursday 28th November:

Today we had a talk on our IP's, which we are very behind on. At first I was set on running a workshop on Strasber's Method, but after revising my action plan with Mr. Fearnehough I decided to direct a short extract of Ibsen's "A Doll's House". This talk was very helpful because it made the IPP much clearer for me and I'm now certain of what to do. 

Friday 29 November:

Today we carried on with our development for ideas for our new puppetry piece.
As an ensemble, we chose different roles to make the devising of our play faster. We figured out the important aspects that are involved in our piece which is:

• script
• LX
• puppet
• Shadow Puppetry
• Music and Sound

At first I was quite interested to make the puppet as Lydia was doing Script and I had already done Sound. However, I chose Music and Sound in the end as it will give me a basis of comparison in the TPPP. Music and Sound in our play is not restricted to just sound effects and background music but also narration. Something I noticed when performing our short "Monty" that in the audience participation, as I was doing the voice, the spectator who came on stage to talk to Monty spoke to me, not the puppet. This is something that must not happen during our play as the realism will be broken and the play will not be as effective.