Puppets Inc Dot Com: Tips For Live Puppetry

A Guest Editorial by Amanda Cowles

The use of live puppetry means your skits are not pre-recorded. You have the option of responding to the audience and others on stage, and also have the flexibility to adjust length and content as needed.

Here are few tips I use to improve my live puppetry:

Memorize the script. In my opinion, one of the worst things you can do as a puppeteer is read the script during a performance. The first step in bringing your puppet to life is to have the skit thoroughly memorized.

If you do not feel confident that you will remember a routine, opt instead for a bullet list of important lines. A bullet list helps you move from one point to the next and reminds you of fun lines you do not want to forget. I use a bullet list for the first 3 or 4 performances of a new routine. Keep the routine handy so you can refresh your memory before a show. Remember, though, the quicker you lose the script while performing, the better.

My bullet lists look something like this:

“Cake Routine”
· Up crying
· Birthday cake. Read ingredients.
· Kaboom!
· Use my ‘magination
· Stinkilicious!
· “Put the good stuff in, keep the bad stuff out!”
· Peanut Butter

I also include Bible verses used in the routine. Your list may not make sense to others, but if you have memorized and rehearsed the skit, a short list of key words and phrases is all you need.

Don’t be afraid to rewrite. When I write a routine, I write it for my puppet and my puppet’s personality. And when I buy a routine, I rewrite it. Sometimes I even combine two or more routines, adding a few of my own lines, until I’ve written something that fits my performance style. So do not be afraid to rewrite a skit to suit you and your puppets’ personalities.

Think also of your audience. A good routine can be rewritten to suit most any age group. What makes preschoolers laugh may bore your 5th and 6th graders; however, as you practice rewriting, you will learn what works and what doesn‘t. Think, “ham it up, make it strong.” When I write or perform, I “ham up” funny situations and drive home, or “make strong,” the message.

Do not perform the skit word for word. In memorizing and rehearsing a routine, do not try to say every word. Practice the skit as if it were a real conversation and not a show for others to observe. Verbatim is difficult for the audience and, more often than not, comes across forced and unnatural.

Include the audience. One of the best things about live puppetry is the opportunity you have to include the audience. You can do this by having them repeat words or phrases. You can have them answer a question, point to the sky, sing a song, or flap like a chicken! Anything you can do to include the audience will enhance your skit and includes both planned and unplanned ad-libs.

Every audience has a personality. The quicker you learn to identify an audience’s personality, the quicker you will be on your feet. What I mean is, if I find myself with a restless audience, I know I need to do more to help them focus. I will also need to keep the routine moving at a steady pace, lest I lose their attention. A quiet audience needs you to help them generate energy. A lively audience needs extra help recognizing the main point of a program. A lively audience, especially, will need phrases such as “thoughts, words, actions,” to help them remember a message.

Think personality. Personality is what moves a puppet to an individual. Personality is what makes us forget there is a puppeteer. When you no longer think for the puppet and instead think as the puppet, you know you are beginning to apply the concept of personality.

When developing personality, ask yourself questions such as: How old is the puppet? Where is he from? Does he have an accent? Does he have brothers and sisters? Who is his best friend? What does he know about God? What does he misunderstand about God, his environment, family, etc.? Making a list of questions will help you develop a puppet personality that engages your audience.

Rehearse Transitions. Always know where you came from and where you are going. A good transition helps your audience focus and retain the message of a program. For example, if you are moving from a puppet skit to an object lesson, the transition may go something like this:

Front man: So, we know that it’s important to reach to understand each other.
Puppet: Yes! And we can reach to accept each other.
Front man: Reach to care for each other.
Puppet: And reach to help each other.
Front man: Speaking of help (puppet exits), I’m going to need everyone’s help with this next part (begin object lesson).

Utilize puppet movement. Puppet technique is your icing on the cake. Don’t forget the basics and try these subtle moves to bring your puppet to life: Prop the puppet’s elbow on the stage and let him lean toward the person (or puppet) he’s talking to. Every once in a while, let your puppet softly sigh or scratch his ear. If the front man sits a prop on a table, let your puppet look at the object as it is set in place. If a baby in the audience cries, look briefly in her direction. Remember, think as the puppet. Once you begin to think as the puppet, you will find subtle movements come naturally. You will begin to focus and respond to what is going on around you and your puppet technique will become more fluid and natural.

Practice character voices. It is a little awkward at first, but the more comfortable you become at belting those voices in private, the more comfortable you will be sharing them on stage. Listen to cartoon voices and try to mimic them. The car is one of the best places to try new voices. And when you find a voice you like, practice, practice, practice. Without practice your voices will be weak, you will not be able to hold a character voice for any length of time, and you will forget the voice from one performance to the next. If you want a strong character, practice a strong voice.

Know your microphone. You have enough details to think about during a performance, but your microphone should not be one of them. Always use a headset, not a handheld mic, for live puppet skits. If your microphone has wires, drop the wire down the back of your shirt to keep from getting tangled. If you can, practice often with the microphone you use for performances. A good microphone means you can concentrate on voice clarity and not projection. I am always reminding myself to let the microphone do its job. Your microphone projects for you. Your focus should be clarity, strength of voice and character, and the audience.

The microphone I like to use is a Samson Airline. I like the Airline because there are no wires and I can control the power and mute on the headset, not a belt pack. The important thing, though, is to find a microphone you like. Know it. Rehearse with it. Let it do its job. If you’re like me, the microphone you use will become as important to you as the puppet on your hand… well, almost as important.

Remember, puppetry is an art that involves movement, timing, voice, and stage-presence. The time you put in will reflect the quality you get out, and the better the quality, the more effective the message. Apply these tips to strengthen your performance skills and teaching ability. With a little work and dedication, you’ll be a pro in no time!

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