are too quick and small. I ask each team to pick an arm puppeteer to coordinate the arm swings and other movement. It is also the arm puppeteer’s responsibility to watch out for the center pole carrier, because the center pole puppeteer has the heaviest load and cannot always see as well.
Next, puppeteers learn how to turn their puppets. If the puppet is moving to the right, the puppeteer operating the left hand moves quickly out ahead of the turn and the puppeteer on the right moves slowly through the turn.
I invite each team to develop three to five gestures, poses, and movements that characterize their puppet. I may lead them through movement exercises to help them create their figure’s rhythm, force, and tempo. They can incorporate these move- ment patterns into the puppet’s walk and actions. Each team performs their creations at rehearsal for the others.
Then, puppeteers are ready to learn more complicated moves like how to hug – first of all individual hugs and then a group hug or passing the peace. Puppet teams can work out who puts their arms up or down. The next step is to focus on learning the specific gestures and dramatic actions of the worship ritual or drama. Giant puppet movements should be clear and simple. Sometimes it helps to break an action down into steps or to have the puppeteers carefully watch someone make the movement with his or her own body. If puppeteers can’t make the action clear with puppets, some motions might need to be cut. If arm movements are jerky, if puppets move in unnatural positions, or if puppeteers look distracted or unprofes- sional, the congregation will focus on that. It is essential that the director and puppeteers make sure that the puppets’ movements communicate your intended message. Now, musicians can join rehearsals. I prefer live music to pre-recorded music. Music should have a clear rhythm that is easy to move to and communicates the drama’s mood and message. It is helpful if musicians have enough improvisational skills that they can follow the puppets, although puppeteers can follow musicians with sufficient practice. Be sure to schedule enough rehearsals to create a quality performance for worship. We started rehearsing in November for a January Epiphany service. I recommend
WORSHIP ARTS • JANUARY-FEBRUARY 2010
It is essential that the
director and puppeteers make sure that the puppets’ movements communicate your intended message.
scheduling social time and at least one meal for the puppeteers, musicians, and other performers so they can build community and enjoy their time together. I have found that creating and per- forming with giant puppets creates a sense of awe and mystery for the congregation and becomes a community building experience for the puppeteers, musicians, and other collaborators. If you create rituals and stories with giant puppets, I hope that you and your worshipping community also find it reward- ing.
Fellowship member THERESA MASON, an elder in the California-Nevada Annual Conference of The United Methodist Church, served as pastor of local
churches and as chaplain and associate professor of religion at Hamline University. Now as director of Earthen Pot Theatre, she is a consultant, director, writer, and work- shop leader for churches and emerging ministries. For additional information about making and directing giant puppets, she may be contacted at
revtmason@live.com.
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