Avatars are used more and more in online communication, in both games and socialmedia. At the same time technology for facial puppetry, where expressions of the user aretransferred to the avatar, has developed rapidly. Why is it that facial puppetry, despite this,is conspicuous by its absence? This thesis analyzes the available and upcoming solutions for facial puppetry, if a com-mon framework or library can exist and what can be done to simplify the process for de-velopers who wants to implement facial puppetry. A survey was conducted to get a better understanding of the technology. It showedthat there is no standard yet for how to describe facial expressions, but part of the marketis converging towards a common format. It also showed that there is no existing inter-face that can handle communication with tracking devices or translation between differentexpression formats. Several prototypes for recording and streaming facial expression data from differentsources were implemented as a practical test. This was done to evaluate the complexity ofimplementing real-time facial puppetry. It showed that it is not always possible to integratethe available tracking solutions into an existing project. When integration was possible itrequired a lot of work. The best way to get tracking right now seems to be to implement astandalone program for tracking that streams the tracked data to the main application. In summary it is the poor integrability of the solutions that makes it problematic forthe developers, together with a wide variety of facial expression formats. A software thatacts like a bridge between the tracking solutions and the game could allow for translationbetween different formats and simplify implementation of support. In the future, instead of working towards making all tracking solutions output stan-dardized tracking data, research further how to build a framework that can handle differ-ent configurations. / <p>Examensarbetet är utfört vid Institutionen för teknik och naturvetenskap (ITN) vid Tekniska fakulteten, Linköpings universitet</p>

Puppeteer, World's Oldest Periodical Focused on Puppetry (1912-2009) Diploma Thesis Eva Pivodová Abstract This thesis focuses on the history of the magazine Czech Puppeteer (Český loutkář), or Puppeteer (Loutkář), the world's oldest continuously published periodical of its kind. The first 3 chapters describe in detail the magazine's transformations between 1912- 1950, its further existence is described more briefly in the final chapter. The resource material consisting primarily of the published issues of the magazine served as the basis for historical analysis. The text also puts the history of the magazine into context with the development of puppetry and it includes references to relevant theatrical literature. The magazine was founded by Jindřich Veselý in 1912 in Prague. In the first period of its existence (1912-1913), it helped to integrate the Czech puppetry community and it emphasized the values of genuine Czech puppet theatre. After 1917, Puppeteer (Loutkář) continued to publish both theoretical and practical articles. In 1940, it was replaced by Puppet Theatre (Loutková scéna). But Puppet Theatre was soon cancelled as well and so the only periodical focused on puppetry published during war was a simple cyclostyled bulletin. After the war, the renewed Puppet Theatre had to adapt to the new...

Most tourists visiting Cambodia only seek to visit the World Heritage Site of Angkor Wat. The Cambodian, or Khmer people are capitalizing on this booming tourist industry, but they are also disseminating a more complex Khmer identity through other sites and festivals. This identity simultaneously hearkens back to the affluence of the Angkor Period in Khmer history and looks forward to the modernization of the country. After the reign of the Khmer Rouge, from 1975-1979, which led to what is now called the Cambodian Killing Fields, the Khmer people needed to create a new, hopeful, peaceful identity for their nation. The new Khmer identity is still being created and strengthened today. This thesis is about performance and its intersection with identity. It argues that the Khmer are using performance—both onstage and offstage—as a means towards identity formation. The contemporary performance of Khmer identity is serving to increase nationalism as well as raise interest and funding for Cambodia from foreign tourists. This thesis looks closely at three sites of Khmer performance: a Khmer performance enacted onstage entitled Sokacha, the Pioneer Day celebrations of the Khmer-Mormon community in Phnom Penh, and the yearly Water Festival. Each of these performance sites demonstrates the dual performance occurring—a performance to reify Khmer identity to Khmer people from around the world, and a performance of Khmer identity packaged for foreigners to purchase. Performance on stage has been altered, choosing only elements of traditional Khmer performance that emphasize the new identity. But the Khmer are using other venues, like festivals and celebrations, to perform identity. In adopting only elements of Khmer history that fit the hopeful trajectory of the new Khmer identity, the Khmer are creating and performing a new identity, both onstage and offstage, to fit the present and future Cambodia. Two identities of Cambodia are being performed: one aimed at Khmer to instill national pride, and one performed for the tourists that help fund that effort.

This diploma thesis remarks on the beginning of the equality of rights and the complete social recognition of the puppetry in Czech theatres in the years 1973 - 1982. The thesis deals with the history of the East Bohemian theatre DRAK in Hradec Kralove from its foundation, it describes the arrival of the director Josef Krofta, Prague's performances of DRAK in 1977, the first tours abroad, it observes DRAK in the context of totality, it outlines Krofta's directorial principles and the perspective of the DRAK's Theatre poetics within a decade. Significant attention is dedicated to the reconstruction of the top chosen period plays from the DRAK Theatre, directed by Josef Krofta, because these plays reflect the best the emancipation of the Czech puppet theatre.

My thesis follows up life and work of Bohumil Schweigstill, teacher and puppeteer living in First Republic of Czechoslovakia. First chapter is about social situation in Příbram, about his childhood and studies in this famous mining area. Then it focuses on the beginning of his career as a teacher at Klatovsko and subsequent move to Prague, where until the end of the 30s of the 20th century has taught at several schools. Thesis then makes a closer look at his puppeteering work in Prague theater in Vladislavova street and theatre in the garden of Kinský, monitors normal operation of both theatres, structure of performances, ensemble and repertoire. Stand-alone chapter is devoted to Schweigstill's dramas and its benefit for forms of puppet - Punch, because he was one of the first to come up with a brand new concept. The final chapter then examines his tenure at the magazine Little Reader and Heart, as well as end of his life, where despite leaving both of its own puppet theaters, he didin't hesitate to help other amateur and professional theatre groups, and finally the overall contribution that Schweigstill's playwright and theatrical activity had. Key words Bohumil Schweigstill, puppet theater, marionette, puppetry, Punch, the Kinsky Garden Theatre, the Theater at Vladislavova Street, the Society for...

[pt] A presente pesquisa contribui com o estudo do boneco enquanto objeto em seus modos de fazer e do títere em seus modos de brincar. Ela investiga seu caráter técnico e simbólico, e propõe o uso do boneco/títere como objeto narrativo dentro de um grupo com diversidade intelectual, mediado pelo designer de bonecos. O caráter técnico do boneco é discutido no modo de fazer, objeto de estudo do designer de boneco, e seu uso comunicacional é abordado em seu modo de brincar, objeto de estudo do Design com finalidade participativa. Esta tese parte do seguinte paradigma: as construções simbólicas estabelecidas pelo brincante nos modos de fazer e brincar com o boneco contribuem para o desenvolvimento de seu modo de pensar. A pesquisa adapta suas aplicações e relata os resultados obtidos, promovendo parâmetros de uso do método criado, para grupos similares, com o propósito de contribuir para o desenvolvimento da pessoa com diversidade intelectual, apresentando, também, como o designer atua enquanto mediador nesse processo. São relatos e reflexões acerca do design social e participativo no campo da educação e considerações sobre a utilização da mídia do Teatro de Bonecos para promover e favorecer o desenvolvimento da pessoa com diversidade intelectual. A pesquisa oferece uma metodologia de uso dessa mídia em espaços educativos de inclusão positiva, servindo de material pedagógico para professores e arte-educadores, além de despertar interesse em designers de personagens e construtores de bonecos que estudam questões referentes a materialidade, forma, processos de confecção e estudos de mecanismos que regem o projeto de um boneco. Espera-se, com esta pesquisa, oferecer novos modos de pensar a inclusão da pessoa com diversidade intelectual dentro de ambientes educacionais. / [en] The research contributes to the study of the making and uses of puppets. It investigates its symbolic character and proposes the use of the puppet as a narrative object inside an intellectual deficient group, mediated by the designer. The technical character of the puppet is discussed in its way of making, subject of study to the puppet designer, and its communicational use is addressed in how it is used as an entertainment object, design matter of study for participative purpose. This thesis stands with the following paradigm: the symbolic constructions established by the agent/player, in the subject of making and playing with the puppet, contributes to promote its empowerment. This research investigates the process of making and playing with puppets in an intellectual deficient group; adapts its application and reports the results, promoting parameters to the method created, for similar groups, with the purpose of contributing to the empowerment of people with intellectual disabilities and one s subjectivity and constitution of identity.The research also presents how the designer can act as a mediator in this process. The thesis shows reports and thoughts concerning the social and participative design in education that utilizes the media of puppetry to promote and support the empowerment of an intellectually deficient person. It offers a usage methodology of this media in positive inclusive educative spaces, serving as a pedagogical material to professors and educators, in addition to attracting the interest of character designers and puppeteers who study issues related to materiality, shape, confection process and mechanisms that structure the project of a puppet.