Puppetry
Puppetry | |
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Ancestor arts | Theatre |
Originating era | 3000 BC |
Part of a series on |
Performing arts |
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Puppetry is a form of theatre or performance that involves the manipulation of puppets – inanimate objects, often resembling some type of human or animal figure, that are animated or manipulated by a human called a puppeteer. Such a performance is also known as a puppet production. The script for a puppet production is called a puppet play. Puppeteers use movements from hands and arms to control devices such as rods or strings to move the body, head, limbs, and in some cases the mouth and eyes of the puppet. The puppeteer sometimes speaks in the voice of the character of the puppet, while at other times they perform to a recorded soundtrack.
There are many different varieties of puppets, and they are made of a wide range of materials, depending on their form and intended use. They can be extremely complex or very simple in their construction. The simplest puppets are
Puppetry is a very ancient form of theatre which was first recorded in the 5th century BC in
History
Puppetry is a very ancient art form, thought to have originated about 4000 years ago.
Africa
Sub-Saharan Africa may have inherited some of the puppet traditions of ancient Egypt.
Asia
East Asia
There is evidence for puppetry in the
China has a history of puppetry dating back 3000 years, originally in pi-yung xi, the "theatre of the lantern shadows", or as it is more commonly known today, Chinese shadow theatre. By the Song dynasty (960–1279 AD), puppets played to all social classes including the courts, yet puppeteers, as in Europe, were considered to be from a lower social stratum.[1] In
Japan has many forms of puppetry, including the bunraku. Bunraku developed out of Shinto temple rites and gradually became a highly sophisticated form of puppetry. Chikamatsu Monzaemon, considered by many to be Japan's greatest playwright, gave up writing kabuki plays and focused exclusively on the puppet-only bunraku plays. Initially consisting of one puppeteer, by 1730 three puppeteers were used to operate each puppet in full view of the audience.[1] The puppeteers, who dressed all in black, would become invisible when standing against a black background, while the torches illuminated only the carved, painted and costumed wooden puppets.
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Chinese shadow puppet (Beijing style)
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Chinese stick puppets
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Hanuman and Ravana inTogalu Gombeyaata, a shadow puppet tradition in the southern part of India
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Sanbaso bunraku puppet, Tonda Puppet Troupe, Japan
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The character Osono from the play Hade Sugata Onna Maiginu[a]
Korea's tradition of puppetry is thought to have come from China. The oldest historical evidence of puppetry in Korea comes from a letter written in 982 A.D. from Choe Seung-roe to the King.[12] In Korean, the word for puppet is Kkoktugakshi.[12] Gagsi means a "bride" or a "young woman", which was the most common form the dolls took. A kkoktugakshi puppet play has eight scenes.[12]
Southeast Asia
The Indonesian wayang theater was influenced by Indian traditions.[13] Some scholars trace the origin of puppets to India 4000 years ago, where the main character in Sanskrit plays was known as Sutradhara, "the holder of strings".[3] Wayang is a strong tradition of puppetry native to Indonesia, especially in Java and Bali. In Java, wayang kulit, an elaborate form of shadow puppetry, is very popular. Javanese rod puppets have a long history and are used to tell fables from Javanese history. Another popular puppetry form in Indonesia is wayang golek.
Thailand has hun krabok, a popular form of rod puppet theatre.
Vietnam developed the art form of water puppetry, unique to that country. The puppets are built out of wood and the shows are performed in a waist-high pool. A large rod under the water is used by puppeteers to support and control the puppets, creating the appearance of the puppets moving over water. The origin of this form of puppetry dates back seven hundred years when the rice fields would flood and the villagers would entertain each other. Puppet show competitions between Vietnamese villages eventually led to the creation of secretive and exclusive puppet societies.
The
In Burma, today called Myanmar, an elaborate form of puppet shows, called Yoke thé, evolved, based on royal patronage. The probable date of the origin of Burmese marionettes is given as around 1780, during the reign of King Singu Min, and their introduction is credited to the Minister of Royal Entertainment, U Thaw. From their inception, marionettes enjoyed great popularity in the courts of the Konbaung dynasty. Little has changed since the creation of the art by U Thaw, and the set of characters developed by him is still in use today.
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Tropenmuseum Collections, Indonesia, before 1914
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Tropenmuseum Collections, Indonesia, before 1914
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Tropenmuseum Collections, Indonesiabefore 1933
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Tropenmuseum Collections, Indonesiabefore 1983
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Tropenmuseum Collections, Indonesiabefore 1914
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Tropenmuseum Collections, Indonesiabefore 1934
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Wayang kulit, a puppet-shadow play of Java, Bali, and Lombok from Indonesia
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Hun krabok, puppets handled by three performers from Thailand
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Water puppetry, a unique art originating from Vietnam
India
India has a long tradition of puppetry. In the ancient Indian epic Mahabharata there are references to puppets. Another ancient reference to puppetry is found in Tamil classic ‘Silappadikaaram’ written around 1st or 2nd century B.C.[19] Kathputli, a form of string puppet performance native to Rajasthan, is notable and there are many Indian ventriloquists and puppeteers. The first Indian ventriloquist, Professor Y. K. Padhye, introduced this form of puppetry to India in the 1920s and his son, Ramdas Padhye, subsequently popularised ventriloquism and puppetry. Almost all types of puppets are found in India.[20]
- String puppets
India has a rich and ancient tradition of string puppets or marionettes. Marionettes with jointed limbs controlled by strings allow far greater flexibility and are therefore the most articulate of the puppets. Rajasthan, Orissa, Karnataka and Tamil Nadu are some of the regions where this form of puppetry has flourished. The traditional marionettes of Rajasthan are known as
- Shadow Puppets
Shadow puppets are an ancient part of India's culture and art, particularly regionally as the keelu bomme and
During the 19th century and early parts of the 20th century of the colonial era, Indologists believed that shadow puppet plays had become extinct in India, though mentioned in its ancient Sanskrit texts.[24] In the 1930s and thereafter, states Stuart Blackburn, these fears of its extinction were found to be false as evidence emerged that shadow puppetry had remained a vigorous rural tradition in central Kerala mountains, most of Karnataka, northern Andhra Pradesh, parts of Tamil Nadu, Odisha and southern Maharashtra.[24] The Marathi people, particularly of low caste, had preserved and vigorously performed the legends of Hindu epics as a folk tradition. The importance of Marathi artists is evidenced, states Blackburn, from the puppeteers speaking Marathi as their mother tongue in many non-Marathi speaking states of India.[24]
According to Beth Osnes, the tholu bommalata shadow puppet theatre dates back to the 3rd century BCE, and has attracted patronage ever since.[27] The puppets used in a tholu bommalata performance, states Phyllis Dircks, are "translucent, lusciously multicolored leather figures four to five feet tall, and feature one or two articulated arms".[28] The process of making the puppets is an elaborate ritual, where the artist families in India pray, go into seclusion, produce the required art work, then celebrate the "metaphorical birth of a puppet" with flowers and incense.[29]
The tholu pava koothu of Kerala uses leather puppets whose images are projected on a backlit screen. The shadows are used to creatively express characters and stories in the Ramayana. A complete performance of the epic can take forty-one nights, while an abridged performance lasts as few as seven days.[30] One feature of the tholu pava koothu show is that it is a team performance of puppeteers, while other shadow plays such as the wayang of Indonesia are performed by a single puppeteer for the same Ramayana story.[30] There are regional differences within India in the puppet arts. For example, women play a major role in shadow play theatre in most parts of India, except in Kerala and Maharashtra.[24] Almost everywhere, except Odisha, the puppets are made from tanned deer skin, painted and articulated. Translucent leather puppets are typical in Andhra Pradesh and Tamil Nadu, while opaque puppets are typical in Kerala and Odisha. The artist troupes typically carry over a hundred puppets for their performance in rural India.[24]
- Rod puppets
Rod puppets are an extension of glove-puppets, but are often much larger and supported and manipulated by rods from below. This form of puppetry now is found mostly in
- Glove puppets
Glove puppets are also known as sleeve, hand or palm puppets. The head is made of either
The tradition of glove puppets in India is popular in Uttar Pradesh, Orissa, West Bengal and Kerala. In
Afghanistan
West Asia
Middle Eastern puppetry, like its other theatre forms, is influenced by the Islamic culture.
In other areas, the style of shadow puppetry known as khayal al-zill, a metaphor translated as "shadows of the imagination" or "shadow of fancy", still survives. This is a shadow play with live music, "the accompaniment of drums, tambourines and flutes...also..."special effects" – smoke, fire, thunder, rattles, squeaks, thumps, and whatever else might elicit a laugh or a shudder from his audience"[32]
In Iran, puppets are known to have existed much earlier than 1000 AD, but initially only glove and string puppets were popular .[33] Other genres of puppetry emerged during the Qajar era (18th and 19th centuries) as influences from Turkey spread to the region. Kheimeh Shab-Bazi is a traditional Persian puppet show which is performed in a small chamber by a musical performer and a storyteller called a morshed or naghal. These shows often take place alongside storytelling in traditional tea and coffee-houses (Ghahve-Khane). The dialogue takes place between the morshed and the puppets. A recent example of puppetry in Iran is the touring opera Rostam and Sohrab.
Europe
Ancient Greece and Rome
Although there are few remaining examples of puppets from ancient Greece, historical literature and archaeological findings shows the existence of puppetry. The Greek word translated as "puppet" is "νευρόσπαστος" (nevrospastos), which literally means "drawn by strings, string-pulling",[34] from "νεῦρον" (nevron), meaning either "sinew, tendon, muscle, string", or "wire",[35] and "σπάω" (spaō), meaning "draw, pull".[36][37] Aristotle referred to pulling strings to control heads, hands and eyes, shoulders and legs.[38] Plato's work also contains references to puppetry. The Iliad and the Odyssey were presented using puppetry. The roots of European puppetry probably extend back to the Greek plays with puppets played to the "common people" in the 5th century BC. By the 3rd century BC these plays would appear in the Theatre of Dionysus at the Acropolis.[1]
In ancient Greece and ancient Rome clay dolls, and a few of ivory, dated from around 500 BC, were found in children's tombs. These dolls had articulated arms and legs, and in some cases an iron rod extending up from the tops of their heads. This rod was used to manipulate the doll from above, as it is done today in Sicilian puppetry. A few of these dolls had strings in place of rods. Some researchers believe these ancient figures were simply toys and not puppets, due to their small size.[39]
Italy
- Middle Ages and Renaissance
Italy is considered by many to be the early home of the marionette due to the influence of Roman puppetry.
In
- 18th and 19th centuries
The 18th century was a vital period in the development of all
France
Guignol is the main character in the French puppet show which has come to bear his name. Although often thought of as children's entertainment, Guignol's sharp wit and linguistic verve have always been appreciated by adults as well, as shown by the motto of a prominent Lyon troupe: "Guignol amuses children… and witty adults". Laurent Mourguet, Guignol's creator, fell on hard times during the French Revolution, and in 1797 started to practice dentistry, which in those days was simply the pulling of teeth. To attract patients, he started setting up a puppet show in front of his dentist's chair.
His first shows featured Polichinelle, a character borrowed from the Italian commedia dell'arte. By 1804 the success was such that he gave up dentistry altogether and became a professional puppeteer, creating his own scenarios drawing on the concerns of his working-class audience and improvising references to the news of the day. He developed characters closer to the daily lives of his Lyon audience, first Gnafron, a wine-loving cobbler, and in 1808 Guignol. Other characters, including Guignol's wife Madelon and the gendarme Flagéolet soon followed, but these are never much more than foils for the two heroes. Guignol's inevitable victory is always the triumph of good over evil.
Great Britain
The traditional British Punch and Judy puppetry traces its roots to the 16th century to the Italian commedia dell'arte.[45] The character of "Punch" derives from the character Pulcinella, which was Anglicized to Punchinello. He is a manifestation of the Lord of Misrule and Trickster, figures of deep-rooted mythologies. Punch's wife was originally "Joan", but later became "Judy". In the late 18th and early 19th centuries, the familiar Punch and Judy puppet show which existed in Britain was performed in an easily transportable booth. The British Puppet and Model Theatre Guild in the early 20th century instigated a resurgence of puppetry. Two of the Guild's founders, H. W. Whanslaw and Waldo Lanchester, both worked to promote and develop puppetry with publications of books and literature, mainly focusing on the art of the marionette. Lanchester had a touring theatre and a permanent venue in Malvern, Worcestershire, regularly taking part in the Malvern Festival and attracting the attention of George Bernard Shaw. One of Shaw's last plays, Shakes versus Shav, was written for and first performed in 1949 by the company.[citation needed]
From 1957 to 1969,
Current British puppetry theatres include the
Netherlands, Denmark, Romania, and Russia
Many regional variants of Pulcinella were developed as the character spread across Europe. In the Netherlands it is Jan Klaassen (and Judy is Katrijn); in Denmark Mester Jackel; in Russia Petrushka; and in Romania Vasilache. In Russia, the Central Puppet Theatre in Moscow and its branches in every part of the country enhanced the reputation of the puppeteer and puppetry in general.[46]
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Polichinelle caricature, France
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Puppet theater with Gioppino and Brighella, Bergamo Italy
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Traditional puppets from Liège, Belgium
Germany and Austria
There is a long tradition of puppetry in Germany and Austria. Much of it derives from the 16th-century tradition of the Italian
In 1855,
In Lindau, the Lindau Marionette Opera was founded in 2000 by Bernard Leismueller and Ralf Hechelmann. The company performs a large number of operas as well as a marionette ballet, Swan Lake.
In Augsburg, the historic Augsburg Marionette Theatre was founded in 1943 by Walter Oehmichen. It continues to this day along with an adjoining puppet museum under the grandsons of the founder, Klaus Marschall and Juergen Marschall.
Much earlier in nearby Salzburg, Austria, the Salzburg Marionette Theatre was founded in 1913 by Professor Anton Aicher and is world-famous. The Salzburg Marionette Theatre still continues the tradition of presenting full-length opera using marionettes in their own purpose built theatre until recently under the direction of Gretl Aicher. It performs mainly operas such as Die Fledermaus and The Magic Flute and a small number of ballets such as The Nutcracker.[49] The Salzburg Marionette Theatre productions are aimed for adults although children are of course welcome.
There is also a marionette theatre at Schoenbrunn Palace in Vienna founded by Christine Hierzer-Riedler and Werner Hierzer over 40 years ago.[50] The marionette theatre performs world famous operas, musicals and fairy tales.
Czech Republic and Slovakia
Marionette puppet theatre has had a very long history in entertainment in Prague, and elsewhere in the former Czechoslovakia and then in the Czech Republic and Slovakia. It can be traced deep into the early part of the Middle Ages.[51] Marionettes first appeared around the time of the Thirty Years' War.[51] The first noted Czech puppeteer was Jan Jiří Brat, who was born in 1724. He was the son of a local carpenter and created his own puppet theatre.[51] Matěj Kopecký was the most famous 19th-century Czech puppeteer,[51] and was responsible for communicating the ideas of national awareness.[51]
In 1911, Jindřich Veselý co-founded the Czech Association of Friends of Puppet Theatre and in 1912 advocated the publication of the oldest specialist puppet-theatre magazine still published today, Loutkář.[52] Veselý played a key role in founding UNIMA (International Puppetry Association) in 1929, and was elected its first president.[53]
In 1920 and 1926 respectively,
In 2016, Czech and Slovak Puppetry was included on the UNESCO Intangible Cultural Heritage Lists.[57][58]
19th century
Throughout this period, puppetry developed separately from the emerging mainstream of actor theatres, and the 'ragged' puppeteers performed outside of theatre buildings at fairs, markets etc., continuing to be classified along with bandits and gypsies.[1] In the 19th century, puppetry faced competition from other forms of theatre such as vaudeville and music hall, but it adapted to these challenges, for example: by developing stage acts and participating in the new forms of popular theatre, or reinventing itself in other ways and finding audiences at the newly fashionable seaside resorts.
North America
The Teotihuacan culture (Central Mexico) of 600 AD made figurines with moveable arms and legs as part of their funerary rites. Native Americans also used ceremonial puppets.[1] In 1519, two puppeteers accompanied
During the Depression, folk puppeteers traveled with carnivals, working with their own scripts and with dioramas and marionettes of their own manufacture.
Some advances in 20th-century puppetry have originated in the
Puppets also have been used in the Star Wars films, notably with the character of Yoda. His voice and manipulation was provided by Frank Oz.
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Edgar Bergen and his puppet Charlie McCarthy
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Puppets in the Bread and Puppet Theater Museum in Glover, Vermont, USA
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Leslie Madeline Fleming and Bleeckie, a character from a series of web videos.
Australia
The Aboriginal peoples of Australia have a long tradition of oral storytelling which goes back many thousands of years. They used masks and other objects to convey deep and meaningful themes about morality and nature. Masks were carved from wood and heavily decorated with paint and feathers.
In Australia in the 1960s, Peter Scriven founded the Marionette Theatre of Australia and staged beautiful marionette productions such as The Tintookies, Little Fella Bindi,[60] The Explorers and The Water Babies.
Phillip Edmiston, who worked alongside Peter Scriven at the Marionette Theatre of Australia, went on to mount in 1977 a lavish marionette production of The Grand Adventure under the umbrella of his own company, Theatrestrings. With 127 marionettes, the A$120,000 production opened in
Bilbar Puppet Theatre, established by
David Hamilton, one of the last remaining marionette puppeteers in Australia, tours independently and formerly toured under the auspices of the Queensland Arts Council.[65] Some of his puppets were displayed in a special puppet exhibition mounted at the Queensland Performing Arts Complex in 2018.[66]
Comedian and radio broadcaster Jamie Dunn was famous for his Muppet-style character, Agro, who featured on several Seven Network television programs throughout the 1980s and 1990s.
Formally trained in the United States by puppeteers from the Jim Henson Company, Brett Hansen and his Brisbane-based Larrikin Puppets company[67] is one of only a few Muppet-style puppeteers actively performing in Australia. Cabaret Puppet Theatre, based in Brisbane's Redlands area, also tours with productions for children and adults.[68]
In Melbourne, Handspan Theatre (1977–2002) evolved from humble collective beginnings to a large, design-rich theatre format dubbed 'Visual Theatre', and became a hothouse for innovative projects and multimedia collaborations within Australia and around the world.
A post-graduate course existed at the Victorian College of the Arts, University of Melbourne in the late 1990s, but has since been discontinued.
Australian puppeteer Norman Hetherington was famous for his marionette, Mr. Squiggle, who featured on an Australian Broadcasting Commission television program from 1 July 1959 until 9 July 1999. In every episode he would create several pictures from "squiggles" sent in by children from around the country.
Rod Hull also made a contribution with his puppet Emu. In the 1960s, Hull presented a children's breakfast television programme in Australia.
Snuff Puppets is one of Australia's modern puppet theatre troupes. Based in Melbourne, their work is full of wild black humour, political and sexual satire, and a handmade aesthetic. Snuff Puppets has performed in over 15 countries, including tours to major festivals in Asia, South America and Europe.
There is an annual winter festival of puppets at the City of Melbourne's ArtPlay and at Federation Square in Melbourne.
In Sydney, Jeral Puppets, founded by John and Jackie Lewis in 1966, regularly performs at Puppeteria Puppet Theatre and on tour.[70]
Contemporary era
From early in the 19th century, puppetry began to inspire artists from the 'high-art' traditions. In 1810, Heinrich von Kleist wrote an essay 'On the Marionette Theatre', admiring the "lack of self-consciousness" of the puppet. Puppetry developed throughout the 20th century in a variety of ways. Supported by the parallel development of cinema, television and other filmed media it now reaches a larger audience than ever. Another development, starting at the beginning of the century, was the belief that puppet theatre, despite its popular and folk roots, could speak to adult audiences with an adult, and experimental voice, and reinvigorate the high art tradition of actors' theatre.[73]
Kantor influenced a new formalist generation of directors such as
The
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Snuff Puppets Skullies from Scarey
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Puppet theatre in Moscow, Russia in 1958
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Performance of the Kstovo Puppet Theatre
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Two 20th-century hand puppets
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TheLittle Amal, 2021
Events
The
The Puppet Festival Mississauga has taken place annually in March in Mississauga, Ontario, Canada since 2020.[79]
Types
- Method
- By Culture
See also
- The Little Marionette Company
- List of highest grossing puppet films
- Pardeh show
- State Puppet Theatre of Fairy Tales
- UNIMA – International Puppetry Association
- World Puppetry Day
Notes
- Shiga, Japan - an example of Japanese bunraku puppetry
References
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Books and articles
- ISBN 0-8238-0067-9.
- Beaton, Mabel; Les Beaton (1948). Marionettes: A Hobby for Everyone. New York.
{{cite book}}
: CS1 maint: location missing publisher (link) - Bell, John (2000). Shadows: A Modern Puppet History. Detroit, USA: Detroit Institute of Art. ISBN 0-89558-156-6.
- Binyon, Helen (1966). Puppetry Today. London: Studio Vista Limited.
- Choe, Sang-su (1961). A Study of the Korean Puppet Play. The Korean Books Publishing Company Ltd.
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- ISBN 0-9693081-5-9.
- Feeney, John (1999). Puppet. Saudi Aramco World.
- Funni, Arthur (2000). The Radio Years of Bergen and McCarthy (Thesis). The Margaret Herrick Library.
{{cite book}}
: CS1 maint: location missing publisher (link) - Hayali, Mustafa Mutlu. Tradition Folk The Site. Ankara, Turkey: Theatre Department, Ankara University Faculty of Language, History and Geography.
- ISBN 978-0-486-40952-8.
- ISBN 0909245061.
- Logan, David (2007). Puppetry. Brisbane, QLD, Australia: Brisbane Dramatic Arts Co. ISBN 978-0-9804563-0-1.
- Robinson, Stuart; Patricia Robertson (1967). Exploring Puppetry. London: Mills & Boon Limited.
- ISBN 0-646-39063-5.
- ISBN 0-06-014166-2.
- ISBN 0-947131-21-3.
- "Wayland Flowers Dies: Ventriloquist Was 48". The New York Times. October 12, 1988. Retrieved 2006-12-30.
External links
- The Center for Puppetry Arts Archived 2021-01-26 at the Wayback Machine – Puppetry Museum and Theater in Atlanta, GA, US.
- The Puppetry Homepage Archived 2019-02-08 at the Wayback Machine – Contains links and information about all types of puppets and puppetry.
- Union Internationale de la Marionnette Archived 2016-09-10 at the Wayback Machine – International organization of puppeteers and puppet enthusiasts
- Puppet Notebook Archived 2020-02-01 at the Wayback Machine- Articles on puppet history, theory and contemporary international puppetry in magazine published by British UNIMA.
- Puppets in Prague Archived 2017-11-24 at the Wayback Machine – Traditional Czech marionette making workshops conducted by Mirek Tretjnar, master puppeteer
- British Puppet and Model Theatre Guild Archived 2018-11-11 at the Wayback Machine – Puppet collection and information and regular articles on puppets and puppetry publishing hard copy and online journal
- Cabaret Puppet Theatre Archived 2019-04-17 at the Wayback Machine – Information on puppet making workshops in Australia conducted by David Logan, master puppeteer
- Marguerite G. Bagshaw Collection Archived 2018-12-28 at the Wayback Machine – Research collection of puppetry resources, part of Toronto Public Library