Aims The practical aim of this research project is to create a multi-touch digital puppetry system that simulates shadow theatre environments and translates gestural acts of touch into live and expressive control of virtual shadow figures. The research is focussed on the qualities of movement achievable through the haptics of single and multi-touch control of the digital puppets in the simulation. An associated aim is to create a collaborative environment where multiple performers can control dynamic animation and scenography, and create novel visualisations and narratives. The conceptual aim is to link traditional and new forms of puppetry seeking cultural significance in the 'remediation' of old forms that avail themselves of new haptic resources and collaborative interfaces. The thesis evaluates related prior art where traditional worlds of shadow performance meet new media, digital projection and 3D simulation, in order to investigate how changing technical contexts transform the potential of shadows as an expressive medium. Methodology The thesis uses cultural analysis of relevant documentary material to contextualise the practical work by relating the media archaeology of 2D puppetry-shadows, shadowgraphs and silhouettes-to landmark work in real-time computer graphics and performance animation. The survey considers the work of puppeteers, animators, computer graphics specialists and media artists. Through practice and an experimental approach to critical digital creativity, the study provides practical evidence of multiple iterations of controllable physics-based animation delivering expressive puppet motion through touch and multiuser interaction. Video sequences of puppet movement and written observational analysis document the intangible aspects of animation in performance. Through re-animation of archival shadow puppets, the study presents an emerging artistic media archaeological method. The major element of this method has been the restoration of a collection of Turkish Karagöz Shadow puppets from the Institut International de la Marionnette (Charleville, France) into a playable digital form. Results The thesis presents a developing creative and analytical framework for digital shadow puppetry. It proposes a media archaeological method for working creatively with puppet archives that unlock the kinetic and expressive potential of restored figures. The interaction design introduces novel approaches to puppetry control systems-using spring networks-with objects under physics-simulation that demonstrate emergent expressive qualities. The system facilitates a dance of agency¹ between puppeteer and digital instrument. The practical elements have produced several software iterations and a tool-kit for generating elegant, nuanced multi-touch shadow puppetry. The study presents accidental discoveries-serendipitous benefits of open-ended practical exploration. For instance: the extensible nature of the control system means novel input-other than touch-can provide exciting potential for accessible user interaction, e.g. with gaze duration and eye direction. The study also identifies limitations including the rate of software change and obsolescence, the scope of physics-based animation and failures of simulation. Originality/value The work has historical value in that it documents and begins a media archaeology of digital puppetry, an animated phenomenon of increasing academic and commercial interest. The work is of artistic value providing an interactive approach to making digital performance from archival material in the domain of shadow theatre. The work contributes to the electronic heritage of existing puppetry collections. The study establishes a survey of digital puppetry, setting a research agenda for future studies. Work may proceed to digitise, rig and create collaborative and web-mediated touch-based motion control systems for 2D and 3D puppets. The present study thus provides a solid platform to restore past performances and create new work from old, near forgotten-forms.

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A presente pesquisa versa sobre a possibilidade ou não da alfabetização geográfica por meio do Teatro de Fantoche como possibilidade de uma prática lúdica, mais envolvente e que permita a autonomia do sujeito em sala de aula. Na coxia buscamos as informações por meio de entrevistas realizadas com sujeitos alunos e professores de terceira série/ano do Ensino Fundamental, em três escolas de Porto Alegre. O Objetivo geral que buscamos foi observar se o lúdico do teatro de Fantoches é uma possibilidade facilitadora da construção do Conhecimento Geográfico. Trabalhamos com a dialógica, a recursividade e o princípio hologramático, na crença não de uma única verdade, mas das verdades serem muitas e também provisórias. Nossos procedimentos no palco basearam-se na Pesquisa Qualitativa. Na primeira cena exercitamos o ato do conhecer os atores, o palco e o Teatro. As reflexões sobre essa cena dizem respeito à construção do conhecimento geográfico com ênfase nos conceitos de Espaço, de Lugar e de Orientação por meio do Teatro de Fantoches. Para tanto buscamos o apoio da Epistemologia Genética para compreender provisoriamente como a criança constrói o conhecimento. Na segunda cena tratamos das questões metodológicas. A terceira cena é dedicada às leituras produzidas na coxia e no palco: no primeiro ato desta cena encontramos as Representações das entrevistas com os sujeitos professores e sujeitos alunos. No segundo ato as representações das oficinas que, nesse momento, analisamos as oficinas de contação de histórias e de construção dos Fantoches. No terceiro ato as Represent(ações) das Apresent(ações); o estudo das representações espaciais e sociais dos sujeitos alunos para a construção do conhecimento, por meio da apresentação teatral com os Fantoches, foi vista como importante para a compreensão do conhecimento geográfico. No último ato, mas nem tão final da peça, dedicamos às reflexões de nossos objetivos com as práticas adotadas no palco. Observamos que há um predomínio nas narrativas dos sujeitos alunos quanto ao brincar, em especial ao lúdico. Procuramos analisar os significados que os sujeitos atribuem ao brincar, bem como o seu papel nas representações espaciais e sociais. / This research deals with the possibility or not geographic literacy through the Puppet Theatre as a practical possibility of entertaining, more engaging an denabling the autonomy of the subject in the classroom. Backstage seek information through interviews with subject teachers and students of third grade / year of elementary school, in three schools of Porto Alegre. The general objective was to observe whether we seek to play the puppet theater is a possibility of facilitating the construction of geographical knowledge. We work with the dialogue, theholographic principle and recursion, a belief in not only truth but many truths are also provisional. Our procedures were based on the stage in Qualitative Research. In the first scene exercise the act of knowing the actors, the stage and theater. Reflections on the scene to the construction of geographical knowledge with emphasis on the concepts of space, place and guidance through the puppet theater. To this end we seek the support of Genetic Epistemology to provisionally understand how the child constructs knowledge. In the second scene of treat methodological issues. The third scene is devoted to the readings produced backstage and on stage: in the first act of this scene we find the representations of the interviews with the subjects and subject teachers students. In the second act the representations of the workshops at that time, we analyze the storytelling workshops and construction of puppets. In the third act represents (shares) of Presentations (actions), the study of social and spatial representations of the subjects students to construct knowledge by means of theatrical presentation with puppets, was seen as important for the understanding of geographical knowledge. In the last act, but not as the final piece, dedicated to the reflections of our goals with the practices adopted on stage. We note that there is a predominance in the narratives of the subjects students about the play, especially to play. We tried to analyze the meanings individuals give to the play, as well as its role in social and spatial representations.

The thesis is an auto-ethnographic study of the author's journey to use puppetry arts as a mode of personal expression. It documents the process of developing; rehearsing; building puppets, props and stage; and performing a puppet performance. The thesis also includes primary source research obtained from an interview with professional puppeteer, Monica Leo, of Eulenspiegel Puppets. The author also describes and reflects upon her experiences teaching an enrichment course on puppetry arts to elementary students. The research highlights ways that puppetry arts can affect students' learning and reflects on its place within the field of art education.

A presente pesquisa versa sobre a possibilidade ou não da alfabetização geográfica por meio do Teatro de Fantoche como possibilidade de uma prática lúdica, mais envolvente e que permita a autonomia do sujeito em sala de aula. Na coxia buscamos as informações por meio de entrevistas realizadas com sujeitos alunos e professores de terceira série/ano do Ensino Fundamental, em três escolas de Porto Alegre. O Objetivo geral que buscamos foi observar se o lúdico do teatro de Fantoches é uma possibilidade facilitadora da construção do Conhecimento Geográfico. Trabalhamos com a dialógica, a recursividade e o princípio hologramático, na crença não de uma única verdade, mas das verdades serem muitas e também provisórias. Nossos procedimentos no palco basearam-se na Pesquisa Qualitativa. Na primeira cena exercitamos o ato do conhecer os atores, o palco e o Teatro. As reflexões sobre essa cena dizem respeito à construção do conhecimento geográfico com ênfase nos conceitos de Espaço, de Lugar e de Orientação por meio do Teatro de Fantoches. Para tanto buscamos o apoio da Epistemologia Genética para compreender provisoriamente como a criança constrói o conhecimento. Na segunda cena tratamos das questões metodológicas. A terceira cena é dedicada às leituras produzidas na coxia e no palco: no primeiro ato desta cena encontramos as Representações das entrevistas com os sujeitos professores e sujeitos alunos. No segundo ato as representações das oficinas que, nesse momento, analisamos as oficinas de contação de histórias e de construção dos Fantoches. No terceiro ato as Represent(ações) das Apresent(ações); o estudo das representações espaciais e sociais dos sujeitos alunos para a construção do conhecimento, por meio da apresentação teatral com os Fantoches, foi vista como importante para a compreensão do conhecimento geográfico. No último ato, mas nem tão final da peça, dedicamos às reflexões de nossos objetivos com as práticas adotadas no palco. Observamos que há um predomínio nas narrativas dos sujeitos alunos quanto ao brincar, em especial ao lúdico. Procuramos analisar os significados que os sujeitos atribuem ao brincar, bem como o seu papel nas representações espaciais e sociais. / This research deals with the possibility or not geographic literacy through the Puppet Theatre as a practical possibility of entertaining, more engaging an denabling the autonomy of the subject in the classroom. Backstage seek information through interviews with subject teachers and students of third grade / year of elementary school, in three schools of Porto Alegre. The general objective was to observe whether we seek to play the puppet theater is a possibility of facilitating the construction of geographical knowledge. We work with the dialogue, theholographic principle and recursion, a belief in not only truth but many truths are also provisional. Our procedures were based on the stage in Qualitative Research. In the first scene exercise the act of knowing the actors, the stage and theater. Reflections on the scene to the construction of geographical knowledge with emphasis on the concepts of space, place and guidance through the puppet theater. To this end we seek the support of Genetic Epistemology to provisionally understand how the child constructs knowledge. In the second scene of treat methodological issues. The third scene is devoted to the readings produced backstage and on stage: in the first act of this scene we find the representations of the interviews with the subjects and subject teachers students. In the second act the representations of the workshops at that time, we analyze the storytelling workshops and construction of puppets. In the third act represents (shares) of Presentations (actions), the study of social and spatial representations of the subjects students to construct knowledge by means of theatrical presentation with puppets, was seen as important for the understanding of geographical knowledge. In the last act, but not as the final piece, dedicated to the reflections of our goals with the practices adopted on stage. We note that there is a predominance in the narratives of the subjects students about the play, especially to play. We tried to analyze the meanings individuals give to the play, as well as its role in social and spatial representations.

A presente pesquisa versa sobre a possibilidade ou não da alfabetização geográfica por meio do Teatro de Fantoche como possibilidade de uma prática lúdica, mais envolvente e que permita a autonomia do sujeito em sala de aula. Na coxia buscamos as informações por meio de entrevistas realizadas com sujeitos alunos e professores de terceira série/ano do Ensino Fundamental, em três escolas de Porto Alegre. O Objetivo geral que buscamos foi observar se o lúdico do teatro de Fantoches é uma possibilidade facilitadora da construção do Conhecimento Geográfico. Trabalhamos com a dialógica, a recursividade e o princípio hologramático, na crença não de uma única verdade, mas das verdades serem muitas e também provisórias. Nossos procedimentos no palco basearam-se na Pesquisa Qualitativa. Na primeira cena exercitamos o ato do conhecer os atores, o palco e o Teatro. As reflexões sobre essa cena dizem respeito à construção do conhecimento geográfico com ênfase nos conceitos de Espaço, de Lugar e de Orientação por meio do Teatro de Fantoches. Para tanto buscamos o apoio da Epistemologia Genética para compreender provisoriamente como a criança constrói o conhecimento. Na segunda cena tratamos das questões metodológicas. A terceira cena é dedicada às leituras produzidas na coxia e no palco: no primeiro ato desta cena encontramos as Representações das entrevistas com os sujeitos professores e sujeitos alunos. No segundo ato as representações das oficinas que, nesse momento, analisamos as oficinas de contação de histórias e de construção dos Fantoches. No terceiro ato as Represent(ações) das Apresent(ações); o estudo das representações espaciais e sociais dos sujeitos alunos para a construção do conhecimento, por meio da apresentação teatral com os Fantoches, foi vista como importante para a compreensão do conhecimento geográfico. No último ato, mas nem tão final da peça, dedicamos às reflexões de nossos objetivos com as práticas adotadas no palco. Observamos que há um predomínio nas narrativas dos sujeitos alunos quanto ao brincar, em especial ao lúdico. Procuramos analisar os significados que os sujeitos atribuem ao brincar, bem como o seu papel nas representações espaciais e sociais. / This research deals with the possibility or not geographic literacy through the Puppet Theatre as a practical possibility of entertaining, more engaging an denabling the autonomy of the subject in the classroom. Backstage seek information through interviews with subject teachers and students of third grade / year of elementary school, in three schools of Porto Alegre. The general objective was to observe whether we seek to play the puppet theater is a possibility of facilitating the construction of geographical knowledge. We work with the dialogue, theholographic principle and recursion, a belief in not only truth but many truths are also provisional. Our procedures were based on the stage in Qualitative Research. In the first scene exercise the act of knowing the actors, the stage and theater. Reflections on the scene to the construction of geographical knowledge with emphasis on the concepts of space, place and guidance through the puppet theater. To this end we seek the support of Genetic Epistemology to provisionally understand how the child constructs knowledge. In the second scene of treat methodological issues. The third scene is devoted to the readings produced backstage and on stage: in the first act of this scene we find the representations of the interviews with the subjects and subject teachers students. In the second act the representations of the workshops at that time, we analyze the storytelling workshops and construction of puppets. In the third act represents (shares) of Presentations (actions), the study of social and spatial representations of the subjects students to construct knowledge by means of theatrical presentation with puppets, was seen as important for the understanding of geographical knowledge. In the last act, but not as the final piece, dedicated to the reflections of our goals with the practices adopted on stage. We note that there is a predominance in the narratives of the subjects students about the play, especially to play. We tried to analyze the meanings individuals give to the play, as well as its role in social and spatial representations.

1 Annotation sheet Summary Martina Mottlová Character of Kašpárek in Marionette and Puppet Show for Children Contents description My diploma work deals with the subject of Kašpárek in marionette and puppet show.This character lowers thrill in a story,offers wit and is full of ideas in solving thrilling situations,which is essential in plays for children. My work focuses on historical line of development of this character and deals with the attitude of a current young spectator as well.It compares topicality at the present time with the one in previous centuries.It examines children's approach to the character and seeks an answer for the question, why the character of Kašpárek is or is not still topical. Key words character of Kašpárek, child, marionette and puppet show, staging, questionnaire

The following work from the field of czech literature for children will be focused on the interpretation of the literaty piece of work by writer Iva Peřinová. The first concentrates on the specifics of the motives and themes, refering to the standard puppet play and fairy-tails model. The second part of the thesis observes the poetics of Peřinova's fairy tails, paying a special attention to her narrative stragies, the way of the construction of the fairy tail characters and to the regularities of the composition. Keywords: Iva Peřinová, puppet play, parody, fairy-tail, ironydivadlo, drama, ironie

This thesis reflects the history and contemporary changes of Czech and Slovak puppetry and presents Czech and Slovak legislative framework preceding the inscription of the element on the Representative List of the Intangible Cultural Heritage of Humanity UNESCO. The practical part analyses the process of preparation and implementation of recognition of traditional puppetry as an intangible cultural heritage in the Czech and Slovak Republics and maps the joint efforts of these countries to inscribe the phenomenon on the Representative List of the Intangible Cultural Heritage of Humanity. Based on a questionnaire survey among viewers of puppet performances, puppeteers and general public, thesis outlines possible impacts of the eventual inscription of this element at the social, cultural and economic level.

Baigiamajame magistro darbe apžvelgiami pasakos „Eglė žalčių karalienė“ mitologiniai ir tautosakiniais niuansai, šią pasaką vertina kaip viena svarbiausių lietuvių ir daugelio kitų šalių mitą, kuris apima visą Dievų panteoną, pasakoja žmogaus, vandens ir žemės pradžios istoriją. Šis mitas glaudžiai susijęs su žalčio, kaip šeimos saugotojo ir globėjo kultu, todėl aptinkama daug skirtingų šios pasakos variantų ir tęsinių įvairių kultūrų mitologijoje. Remiamasi tik lietuvių autorių atlikta šios pasakos analize. Pagrindinė pasakos analizė skirta šios pasakos atsiradimo ir dominavimo įvairiose pasaulio kultūrose ir variantų gausumo problemai. Apsistojama ties mitologiniu „Eglė žalčių karalienė“ kontekstu, lyginant ją su kūrybiniam darbui pasirinkta pasaka „Dvylika brolių juodvarniais lakstančių“, nagrinėjant šios pasakos interpretaciją teatre remiamasi Vitalijaus Mazūro spektakliu „Eglė žalčių karalienė“ (2007). / The myth overlooks entire Gods pantheon, talks about mankind’s, water’s and earth’s origin stories. This folk tale is valued as one of the most important Lithuanian myths which is as much valued in other countries, so the final paper of masters degree overlooks folk tale „Eglė the queen of serpents“ mythological and folk shadings. In mythological culture many other versions of this tale can be seen, that is because this myth is closely associated with serpents, as a family guardian cult. Only Lithuanian author’s analyses of the folk tale are used in this final paper. The main analyses of the folk tale are dedicated to analyze the folk tales origins and domination in many cultures of the world. Vitalijus Mazuras play “Eglė the queen of serpents” (2007) is used in other to analyze folk tales interpretation in theatre, while mythological context of the folk tale “Eglė the queen of serpents” is used in other to compare it with the tale “The Twelve Brothers, Twelve Black Ravens”.