Puppetry involves manipulating puppets to tell stories or depict characters. Puppets can be effective teaching aids. There are many types of puppets from different world cultures, including hand puppets, rod puppets, string puppets, shadow puppets, and water puppets. Puppetry has a long history dating back thousands of years and originating in places like India, Egypt, and Greece. It is used for entertainment, ritual, and education purposes and has advantages like capturing attention and promoting learning, though it requires skills and group coordination.

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5. • A puppet is a manipulative doll dressed as a character
and the performer is a person termed as puppeteer.
• It can be used as an effective teaching aid for language
and social sciences.
• In selecting or writing a puppet play, the age,
background and interest of the students should be
taken into consideration.

6. 
 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.

7. 
DEFINITION :-
Puppetry is an education cum entertaining aid in which puppets manipulated
by the performer is a person termed as characters in a story to be
depicted.

9.  Originated about 4000 years ago in INDIA.
 Historians claim that they are pre date actors in
theatre.
 Evidences show use of wooden puppets in Egypt around
2000 BC.
 African ethnic groups are using puppets in ritual dramas,
in healing and hunting ceremonies till now.

10.  The earliest puppets probably
originated in Egypt, where ivory
and clay articulated puppets
have been discovered in tombs.
 Puppets are mentioned in writing
as early as 422 B.C.E.
 In ancient Greece, Aristotle
and Plato both made reference
to puppetry.

11. In Japan, the deeply
sophisticated bunraku
tradition evolved out of rites
practiced in Shinto temples.
The Vietnamese created the
unique practice of water
puppetry, in which wooden
puppets appear to walk in
waist-high water; this was
originally developed hundreds
of years ago as a response to
the flooding of rice fields.

12. Indonesian shadow
puppets are another
example of a long-held
folk tradition.
Ceremonial puppets
were also used in
several pre-Columbian
Native American
cultures.

13. Ancient Hindu philosophers have paid the greatest tribute to
puppeteers. They have likened God Almighty to a puppeteer and
the entire universe to a puppet stage. Srimad Bhagavata, the great
epic depicting the story of Lord Krishna in his childhood say that
with three strings-Satta, Raja and Tama, the God manipulates each
object in the universe as a marionette.
In Sanskrit terminology Puttalika and Puttika means ‘little sons’.
The root of Puppet is derived from the latin word ‘Pupa’ meaning a
doll. India is said to be the home of puppets, but it is yet to awaken
to its unlimited possibilities. The earliest reference to the art of
puppetry is found in Tamil classic ‘Silappadikaaram’ written around
the 1st or 2nd century B.C.
Natyashastra, the masterly treatise on dramaturgy written
sometime during 2nd century BC to 2nd century AD., does not refer
to the art of puppetry but the producer-cum-director of the human
theatre has been termed as ‘Sutradhar’ meaning the holder of
strings. The word might have found its place in theatre-terminology
long before Natyashastra was written but it must come from
marionette theatre. Puppetry, therefore, must have originated in
India more than 500 years before Christ.

14. PUPPET SHOW
Dramatic expression
Play integral role in lives of people
Substitute of real experiences
Flexible media

15. PURPOSES
• To motivate the student.
• To create interest.
• To add sense of humor.

16. TYPES
OF
PUPPETS

17. HAND PUPPETS
• These
controlled
are puppets
by one hand
which occupies the interior
of the puppet.

18. GLOVE PUPPET
• This is like a fingered glove
which fits on the hand and
are operated from below
by fingers.

19. ROD PUPPET
• These are operated from below
the stage by a combination of
rods and strings.

20. FINGER PUPPET
• An extremely simple
puppet variant which fits
onto a single finger. Finger
puppets normally have no
moving parts

21. STRING/ MARIONETTES PUPPETS
• It consists of puppets with
hinged body parts which are
controlled by nine strings
produces required movements
in the puppet

22. STICK PUPPETS
painted
cut-outs
• Stick puppets are
cardboard/paper
attached by sticks.
• These puppets are
manipulated by the teacher
and students by hiding
behind a screen so that only
puppets are visible to the
audience or the class.

23. SHADOW PUPPETS
puppets Shadow
are made of
which produce
on a white
• Shadow
puppets
cardboard
shadows
screen.

24. CARNIVAL OR BODY PUPPETS
• These puppets are at
least the size of a human
and often much larger.
• One or more performers
are required to move the
body and limbs.

25. HUMAN-ARM PUPPETS
• It is similar to hand
puppet
• is larger and requires
two puppeteers.

26. MAROTTE PUPPETS
• A simplified rod puppet that is
just a head or body on a stick

27. PUSH PUPPET
• A push puppet consists of a
segmented character on a base
which is kept under tension
until the button on the bottom
is pressed.
• The puppet wiggles, slumps and
then collapses, and is usually
used as a novelty toy.

28. WATER PUPPETS
• Means "puppets that dance
on water".
• The puppets are built out of
wood and the shows are
performed in a waist-deep
pool.
• A large rod supports the
puppet under the water

29. CHIN FACE PUPPET
• It is a performance,
usually of a
comical nature, involving
someone's chin.
• By drawing or attaching
eyes, it gives the
impression of a distorted
face when viewed upside
down.

30. The traditional marionettes of Rajasthan are
known as Kathputli. Carved from a single piece
of wood, these puppets are like large dolls that
are colourfully dressed. Their costumes and
headgears are designed in the medieval
Rajasthani style of dress, which is prevalent
even today. The Kathputli is accompanied by a
highly dramatised version of the regional
music. Oval faces, large eyes, arched eyebrows
and large lips are some of the distinct facial
features of these string puppets. These
puppets wear long trailing skirts and do not
have legs. Puppeteers manipulate them with
two to five strings which are normally tied to
their fingers and not to a prop or a support.
Kathputli, Rajasthan

31. The string puppets of Orissa are known as
Kundhei. Made of light wood, the Orissa
puppets have no legs but wear long flowing
skirts. They have more joints and are,
therefore, more versatile, articulate and easy
to manipulate. The puppeteers often hold a
wooden prop, triangular in shape, to which
strings are attached for manipulation. The
costumes of Kundhei resemble those worn by
actors of the Jatra traditional theatre. The
music is drawn from the popular tunes of the
region and is sometimes influenced by the
music of Odissi dance.
• Kundhei, Orissa

32. • Gombeyatta, Karnataka
The string puppets of Karnataka are called
Gombeyatta. They are styled and designed like
the characters of Yakshagana, the traditional
theatre form of the region. The Gombeyatta
puppet figures are highly stylized and have
joints at the legs, shoulders, elbows, hips and
knees. These puppets are manipulated by five
to seven strings tied to a prop. Some of the
more complicated movements of the puppet
are manipulated by two to three puppeteers at
a time. Episodes enacted in Gombeyatta are
usually based on Prasangas of the Yakshagana
plays. The music that accompanies is dramatic
and beautifully blends folk and classical
elements.

33. Pavakoothu, KeralaIn Kerala, the traditional glove puppet play is
called Pavakoothu. It came into existence
during the 18th century due to the influence of
Kathakali, the famous classical dance-drama of
Kerala, on puppet performances. In
Pavakoothu, the height of a puppet varies from
one foot to two feet. The head and the arms
are carved of wood and joined together with
thick cloth, cut and stitched into a small bag.
The face of the puppets are decorated with
paints, small and thin pieces of gilded tin, the
feathers of the peacock, etc. The manipulator
puts his hand into the bag and moves the
hands and head of the puppet. The musical
instruments used during the performance
are Chenda, Chengiloa,
Ilathalam andShankhathe conch. The theme
for Glove puppet plays in Kerala is based on
the episodes from either the Ramayana or the
Mahabharata.

34. The traditional Rod puppet of Bihar is known
as Yampuri. These puppets are made of wood.
Unlike the traditional Rod puppets of West
Bengal and Orissa, these puppets are in one
piece and have no joints. As these puppets
have no joints, the manipulation is different
from other Rod puppets and requires greater
dexterity.
Yampuri, Bihar

35. • Putul Nautch, West Bengal
The traditional rod puppet form of West Bengal is known as Putul
Nautch. They are carved from wood and follow the various artistic
styles of a particular region. In Nadia district of West Bengal, rod-
puppets used to be of human size like the Bunraku puppets of Japan.
This form is now almost extinct. The Bengal rod-puppets, which
survive are about 3 to 4 feet in height and are costumed like the
actors of Jatra, a traditional theatre form prevalent in the State.
These puppets have mostly three joints. The heads, supported by the
main rod, is joined at the neck and both hands attached to rods are
joined at the shoulders.
The technique of manipulation is interesting and highly theatrical. A
bamboo-made hub is tied firmly to the waist of the puppeteer on
which the rod holding the puppet is placed. The puppeteers each
holding one puppet, stand behind a head-high curtain and while
manipulating the rods also move and dance imparting corresponding
movements to the puppets. While the puppeteers themselves sing
and deliver the stylized prose dialogues, a group of musicians, usually
three to four in numbers, sitting at the side of the stage provide the
accompanying music with a drum, harmonium and cymbals. The
music and verbal text have close similarity with the Jatra theatre.

36. • Ravanachhaya, Orissa
The most theatrically exciting is the
Ravanachhaya of Orissa. The puppets are in
one piece and have no joints. They are not
coloured, hence throw opaque shadows on the
screen. The manipulation requires great
dexterity, since there are no joints. The
puppets are made of deer skin and are
conceived in bold dramatic poses. Apart from
human and animal characters, many props
such as trees, mountains, chariots, etc. are also
used. Although, Ravanachhaya puppets are
smaller in size-the largest not more than two
feet have no jointed limbs, they create very
sensitive and lyrical shadows.

37. • Tholu Bommalata, Andhra Pradesh
Tholu Bommalata, Andhra Pradesh's shadow
theatre has the richest and strongest tradition.
The puppets are large in size and have jointed
waist, shoulders, elbows and knees. They are
coloured on both sides. Hence, these puppets
throw coloured shadows on the screen. The
music is dominantly influenced by the classical
music of the region and the theme of the
puppet plays are drawn from the Ramayana,
Mahabharata and Puranas.

38. • Bommalattam, Tamil Nadu
Puppets from Tamil Nadu, known as
Bommalattam combine the techniques of both
rod and string puppets. They are made of
wood and the strings for manipulation are tied
to an iron ring which the puppeteer wears like
a crown on his head.
A few puppets have jointed arms and hands,
which are manipulated by rods. The
Bommalattam puppets are the largest,
heaviest and the most articulate of all
traditional Indian marionettes. A puppet may
be as big as 4.5 feet in height weighing about
ten kilograms. Bommalattam theatre has
elaborate preliminaries which are divided into
four parts - Vinayak Puja, Komali, Amanattam
and Pusenkanattam

39. PRINCIPLES
• Puppets action should be accompanied by short dialogues.
• A puppet show should not have many characters.
• Put in short duration songs and dances to arouse emotions.
• The main problem should be introduced in the beginning of the
puppet show and answer comes out at the end of it to keep up
interest and suspense.
• Songs or speech from the back or recorded talk are used.
• The actual voices of men, women and children can be limited.
• There should be silent pauses in between the dialogues.

40. USES OF PUPPETRY
• It develops effective listening and looking skills.
• It develops group co-operation.
• It develops feeling of security and confidence.
• It promotes creative ability.
• It promotes developmental learning in language
and fine arts.
• It promotes self expression.

41. ADVANTAGES OF PUPPETRY
• Puppets show can heighten the human emotions.
• It captures the attention of participants.
• It creates interest in learner for learning.
• It gives the knowledge in a brief period.
• It motivates the students and stimulate thinking.
education• In nursing puppetry used in health
programs.
• It provides opportunity for team work.
• It provides emotional release.

42. DISADVANTAGES OF PUPPETRY
• It needs group co-operation and co-ordination.
• It requires skills in preparation and in presentation.
• Preparation is very time consuming.
• Seating arrangement is to be managed carefully.