How to create a puppet performance?
This is going to a pretty basic step-by-step as to how to create a show. I realise that many of you might not need to be told this, but for those of you that do, here we go… Also, there will be some more detailed tips and hints in a future post.
Where to start?
It is a misconception that creating a puppet show is different from creating any other type of show. Yes, there are differences, but really, those differences remain only in design and blocking. So, where to start is easy - with the script.
The script doesn’t have to be a play you’ve heard of before, or something already published/produced. It can include adaptations from books (check whether you need rights first!), a storyboarded tale (like with animation and comic books, storyboards allow you to plot action and plotlines with the use of drawings), or it can be a typed page of describing the action on stage and the puppets that are used. You can also be more flexible: take an idea and workshop it until you have a clearer idea of the script; use music or song; or simply get on stage and improvise. You may have an image of a puppet character, which you can then make, and let the story come from the character’s design and mood.
Ok, I’ve got my script/idea, now what?
Generally, when working on a show, you would simply start rehearsing. But in this case, you will probably need your puppets first. Some people get a puppet, or make a puppet, and workshop the script second. Some refine the script before making the puppets. Some workshop the script as they build the puppets. It depends on how best you work, but my suggestion is that if you’re new to creating a performance, get the script first, and then the puppets. (For the rest of the post, I’ll assume that’s what you’ll be doing)
So where to go from here? You’ve got a script, you need the puppets. Are you going to build them yourself? Or have someone else make them? Or buy some? Whatever you do, you will need to look at your script (no matter what form it’s in) and discover the following: what the puppet will need to do; the limitations of the puppeteers; the number of required puppeteers; venue requirements or limitations; staging; lighting… and so on. Check out the basics of puppet design for more info on what puppet makers take into consideration. It will be up to you to figure out from the script how to apply that in terms of the puppet creation.
So let’s say that you’ve gotten all of your puppets together. What’s the next step? Let’s assume that any lines you’ll need to learn are being learned throughout the puppet creation and rehearsal steps. Let’s also assume that you’re self-directing, or at least collaborating with the director. Along the way, you’ll also need to do the obvious things: organise a budget, do your marketing, book a venue, get public liability insurance, get lighting/sound/etc design done, and so on. An example list of things you’ll need to do is attached at the end of this post - it was the list I used for City Head.
Let’s rehearse!
You’ll need to gather all of your set and props together. Generally speaking, when creating a performance, props and set aren’t brought into the rehearsal for a while. But when using puppets, it’s extremely important to rehearse with these things, because it will affect the way the puppeteers will work on stage. Puppets that need to pick up props will need to be highly rehearsed, as the puppets have no muscle ability, and therefore can’t pick up props on their own. Rehearsing with the set, or on a marked off floor, will aid them in figuring out where they can stand in relation to their puppet, or the best sightlines. If you’re using blacklight theatre or light curtain, you’ll need to take extra consideration for how to rehearse: you’ll need the puppeteer’s costumes as well, so they can get used to working with the puppets and their costumes at the same time.
It’s a good idea for the director, stage manager, and all of the puppeteers to write down their blocking (for non-theatre people, it refers to any action, movements or gestures the performer does on stage), which is just as important to remember as their lines. In fact, blocking in puppetry is the learning lines part. The puppeteers may find it useful to not only know their own blocking, but the blocking of the other performers; some may find this trips them up, so it’s not recommended for everyone. However, it’s a good idea to allow the puppeteers to keep cheat sheets in the initial stages of rehearsal, to aid memory.
Once you’ve rehearsed, you’ll have discovered a lot of things that the puppets can and can’t do; that’s ok. It’s up to you to find ways to work around it, but remember, there’s always a way to do it. Things that may annoy you initially might prove to be a useful concept: discovering a new way of moving the puppet that expresses a new emotion or action; finding that a puppet can’t do something, you’ll be forced into innovating a new movement to make up for it, or creating an action that your audience won’t expect. You may prefer initially working with mirrors, or videotaping rehearsals, so you can take an outside look at what you’re doing. Invite some friends or family over - if you’re comfortable - to watch and give you notes. This is especially handy if your friends are performers like you.
Get on board!
Once the show has been sufficiently rehearsed - allow for a few months of rehearsal at least - you can start to perform. I tell this to every actor and group I work with: there’s no such thing as a perfect show. You’ll make mistakes, and you’ll learn from them. Puppetry, just like life, is a journey, and each performance should be seen as part of that journey. Generally speaking, if you have fun on stage, your audience will relax and have fun too. This is a good point to also document your show: get a friend of family member to tape a couple of your shows (check for performance rights if you’re using a published play), and put an excerpt on the net, or send out a DVD as a show reel. But most importantly, use it to document what you did!
So that’s the basics of creating a show. Tune in later for more info on creating the script, direction, and performance. If you think of a topic that you’d like covered, do leave a comment and I’ll add it to the next instalment!
Here’s my checklist for organising my last show. Things might need to be done differently if you’re doing a children’s or school show.
- Organise auditions/advertise
- Notify successful cast
- Get biographies, photos and contact numbers for cast
- Organise and pay for insurance
- Upload relevant info to website - for cast eyes only
- Organise a thank you present for each cast member
- Sort out costumes
- Create media releases, send out to media
- Use a list of media contacts to advertise: also make follow up calls
- Create poster
- Create postcard
- Get both printed, hand out to cast, etc.
- Create program, print it
- Create website banners, add to website
- Advertise online
- Do giveaways
- Organise cast/show photos and/or video
- Invite reviewers
- Organise a venue, booking line
- Organise festival registration (ignore this if you’re not doing a festival)
- Organise rehearsal venue
- Organise rehearsal schedule: attend rehearsals
- Organise and pick up any lighting, set, props or sound equipment
- Organise lighting design
- Organise sound design
- Organise set
- Have extra CDs, just in case
- Have a tool kit and first aid kit (useful for bump ins, etc.)
- Organise transport and storage of any equipment, costumes, etc.
- Keep track of the budget, have all receipts, etc.
- Keep track of ticket sales, follow up on any outstanding money issues
- Organise copies of the script: including prompt copy
- Create cue sheets for operators
- Organise for bump out (it’s amazing how easy it is to forget to prepare for it)
I also have a smaller list of things to prepare based on the puppets, which includes sets and props organisation, repairs, painting of objects, repair kits, etc.
This is just some of the things also, because my show was during a festival and we had a festival-run venue. It meant no worries about organising FOH, ticket sales, venue set up or bump in, etc.
Please note that all of the above must be considered in the context of all three stages of performance: before the season, during the season, and after the season.
Want more? Help build a puppet!