Puppets and masks are central to some of the oldest worldwide forms of art making andperformance, as well as some of the newest. In the twentieth century, French symbolists, Russianfuturists and constructivists, Prague School semioticians, and avant-garde artists around the worldhave all explored the experimental, social, and political value of performing objects. In recentyears, puppets, masks, and objects have been the focus of Broadway musicals, postmodernist theory,political spectacle, performance art, and new academic programs, for example, at the CaliforniaInstitute of the Arts.This volume, which originally appeared as a special issue of TDR/The DramaReview, looks at puppets, masks, and other performing objects from a broad range of perspectives.The topics include Stephen Kaplin's new theory of puppet theater based on distance and ratio, ahistorical overview of mechanical and electrical performing objects, a Yiddish puppet theater of the1920s and 1930s, an account of the Bread and Puppet Theater's Domestic Resurrection Circus and amanifesto by its founder, Peter Schumann, and interviews with director Julie Taymor and Peruvianmask-maker Gustavo Boada. The book also includes the first English translation of Pyotr Bogatyrev'sinfluential 1923 essay on Czech and Russian puppet and folk theaters.Contributors John Bell, PyotrBogatyrev, Stephen Kaplin, Edward Portnoy, Richard Schechner, Peter Schumann, Salil Singh, TheodoraSkipitares, Mark Sussman, Steve Tilllis.
John Bell is Assistant Professor of Performing Arts at Emerson College. He is a member of the Great Small Works Theater Collective and has worked with Bread and Puppet Theater for many years.
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