Final Project (M.A.)--John F. Kennedy University, 2004. / "August 30, 2004"--T.p. Includes bibliographical references (p. 124-127).

Bread and Puppet Theater's use of performing objects offers an aperture to contemplate complex assemblages that blur lines between the human and the nonhuman. Drawing upon cultural studies, feminist materialism, circus studies, and puppetry studies, I consider both the bread and the puppets as they intersect with various assemblages and fields of interpretation. These configurations demonstrate how the objects embody (non)human, material, and conceptual aspects. Because of this ability to exist within the meshes of binaries, performing objects are well suited to challenge and expose other binaries and hierarchies through three categories of analysis — movement, difference, and intra-action — based on Karan Barad's work on matter. In addition to the theoretical framework, I conducted ethnographic interviews and rely on my own experience as an apprentice at Bread and Puppet in 2004, considering myself as co-constitutive actant within the scope of analysis. I examine the way the theater uses sourdough bread and puppets as performing objects to create meaning, express ideology, apply tension within constructs of power, and demonstrate a model for co-dependent living between humans and objects / Doctor of Philosophy / Objects, despite their connections to daily life, which includes times of celebration and insurgency, remain overlooked as political actants. Bread and Puppet Theater, through performances, protests, and everyday living, places bread and puppetry as central to home and public live for puppeteers and performers. This dissertation asserts that bread and puppetry at Bread and Puppet Theater exemplify a co-creative relationship between people and things. This partnership creates tension in places of power, literal locations and within modes of thinking; simplifies and makes more accessible ideological messages; and evokes solidarity through performance. By considering bread in relation to Bread and Puppet Theater, we can see how bread becomes a fulcrum balancing between those with the most wealth and those with the least. Bread, as a symbol, is used to articulate demands. Its presence alone at protests suggests a list of demands regarding redistribution of wealth, fair wages, and food. As a symbol that touches the lives of all, it becomes an object that can evoke solidarity as a symbol but also as a product that is consumed and shared. Puppetry is exemplary of shared creation between people and objects. The rod puppets used at Bread and Puppet are especially suited to blurring demarcations between these two actants. Embodying this in-between space allows puppets to interrogate and blur other sets of binaries — the sacred and the profane, the religious and the secular, rich and the poor, state power and people, war and peace, and so on. This liminal, blurred space primes puppetry to challenge structures of power during political performances and protests. Ultimately this project considers how objects become central to political action and how, if thoughtfully mobilized, could operate as counter actants within times of turmoil.