Friends of SFBAPG-

Last month, after many years of using puppetry in the
experimental-theatre world, we had our first performance for a
card-carrying puppetry audience at the SFBAPG meeting: our short
piece FREEWAY. Terrifying and immensely encouraging. Not easy, at
age 66 & 68, to plunge headfirst into a field where people have been
doing it, headlights bright, all their lives. But so be it, that's
us. I think we can make a significant contribution.

Now we're twelve days away from a new birth: the first
public showing of our Mythic Kitchen ensemble: a full-length piece,
DESCENT OF THE GODDESS INANNA, playing in Sebastopol May 9-10, 16-17,
23-24. Seven puppeteers, one barefaced woman, 17 two-thirds-lifesize
puppets, rear-projection video, original music score - all in service
of an unforgettable mythic vision of growth, eros, head-on crash and
resurrection. We feel it speaks to our times.

Based on a 5,000-year-old Sumerian myth from the land that is
now Iraq: the Goddess of Heaven and Earth descends to visit her
sister, Queen of the Underworld, while a present-day woman finds
herself in nightmare. In these twin journeys, the mundane and the
mythic merge in a struggle toward resurrection. The theme is the
destruction and rebirth of the Divine Feminine, its impact on our
inner quest as well as its implications for global survival. Heavy
stuff, yet we hope also hugely theatrical & unforgettable.

Shows are May 9-10 at Odd Fellows Hall, 195 N. Main St, in
Sebastopol, and May 16-17 and 23-24 at Sebastopol Masonic Center. 373
N Main St., all at 8 p.m. Tickets are $18 general, $15 for students
and seniors. We also extend this discount to all SFBAPG members and
their guests. Reservations are urged: email
www.brownpapertickets.com.

Yes, it sorta fits into the "experimental" pigeonhole, but
for us the story is the center of it all, and the basic craft of
bringing these creatures vividly to life. So we very much hope to
have a significant bunch of puppeteers present at the birth.

Peace & joy-
Conrad Bishop & Elizabeth Fuller
The Independent Eye

GUILD: Summer training opportunity in Lativia

*International Physical Theatre Laboratory*
*with Sergei Ostrenko*

*August 1-7, 2008
Malpils, Latvia*

PROGRAMME
The Lab is open for performers from different countries and backgrounds
inspired by *Physical Theater* as a bold, vibrant and multidimensional
approach to contemporary theater performance. The Lab is putting particular
emphasis on *practical exploration of methods and techniques* of group
theatre training as the foundation for coherent rehearsal process, open
creative atmosphere and efficient performance making. Practical sessions
develop in the form of various exercises and progress from simple to
complicated. Gradually the group is proceeding to *group improvisations and
structures*. Every day is setting advanced creative tasks, developing the
preceding steps and deepening into the detailed consecutive process.

PARTICIPANTS
Actors of physical, dramatic, musical and dance theatres, dancers,
choreographers, directors, stage designers, playwrights, script writers.

REGISTRATION
Candidates should send a CV (résumé) and a brief letter of motivation stating the title, dates and location of the event.

*During the Lab accommodation (six nights) and meals (breakfast, lunch,
dinner) are provided for participants.*

*MORE INFORMATION:* http://www.iugte.com/projects/PhysicalTheatreLab.php

--
Michael & Valerie Nelson

Hello all,
Berkeley Opera's L'Enfant et les Sortileges (by Ravel) is opening May 3 at
8pm and continues May 7 at 7;30 pm, May 9 at 8pm and May 11 at 2:00 pm at
the Julia Morgan Center for the Arts in Berkeley (2640 College Ave.) For
tickets and more info go to http://berkeleyopera.org/season.html#BLENFANT
Magical Moonshine's Valerie and Michael have made the puppets under the
artistic vision of Ariel Parkinson, and will perform them in the opera. We
are in rehearsals now, and the singers are fantastic, the music is wonderful
(it is a double bill with Bartok's Blubeard's Castle which we have not heard
or seen as we have been so busy on our own L'Enfant.) The boys singing the
lead role are wonderful as well, and it looks like this will be a memorable
and very enjoyable production.
While a story about a child, it is not necessarily an opera for children.
In L'Enfant (sung in French with English supertitles) a young boy has a
temper tantrum in his room, ripping wall paper, breaking the grandfather
clock and teapot and teacup and basically wreaking havoc. Suddenly
everything comes to life and begins to hound the poor lad, eventually
filling him with remorse for what he has done, but when he thinks he has
finally found some peace in his garden, all of the animals and even the
trees that he has "misused" come to chastise him further. Finally he learns
that he has a power and he must use it with wisdom and compassion.
The Julia Morgan Theatre is a small and intimate theatre making it a very
exciting venue for opera. We hope some of you get the opportunity to enjoy
what promises to be a lovely cultural event.

--
Michael & Valerie Nelson

Why did you join the guild? What did/do you hope to get out of
or contribute to the guild? How do you envision the future of the guild?

THE GUILD IS IN TRANSITION. BE A PART OF SHAPING OUR FUTURE! LET YOUR
VOICE BE HEARD. (I put some of my thoughts in the last newsletter; now it is your turn!)

Send your comments on the guild to me by the 25th for inclusion in the May
newsletter.

Michael Nelson
Guild Newsletter Editor

Dear SFBAPG members,

Greetings from the SFBAPG Nominating Committee! we are looking for candidates to serve on the SFBAPG Board of Directors. There are three positions that are up for election this year.

Are you interested in running for the SFBAPG Board? If you or someone you know might be interested in serving on the Board, please contact Padmini Sokkapa (contact information below). Board members must be SFBAPG members in good standing (that means that their dues are paid) for at least 1 year (that means they must have joined prior to June, 2007). If you wish to nominate someone other than yourself, please let us know whether you have confirmed that they are willing to serve.

We plan to publish the ballot in the May newsletter, so don't delay. We need a short bio (~250 words) from each candidate to publish in the newsletter.
Thank you in advance to all candidates.

Padmini Sokkappa and Elisheva Hart

A puppet festival this summer!

We are getting carried away with AMAZING WORKSHOPS at our 6th annual
PUPPETFEST MIDWEST (an independent puppet festival). This year's
PuppetFest MidWest runs from Tuesday July 8 to Sunday July 13, 2008
in Trenton, Missouri. You can download the registration form and see
who will be teaching and performing this year. You can find it all at:
www.puppetfestival.org

Even if you cannot attend this year, I hope that you will forward
this information to anyone interested in learning more about puppetry.

Just as a teaser, please let me show you what workshops we are
offering this year.
Registrants to PuppetFest MidWest will focus on their
favorite aspect of puppet theatre by choosing ONE week-long intensive
workshop. Participants spend each morning in their workshop, enjoy
special events in the afternoon, and attend mainstage performances
every evening. We end the week with a "Recital" where everyone shares
and performs what they have created.
MAKING A MOVING MOUTH HAND PUPPET with Nick Barone, Nick Barone
Puppets Participants will go home with a completed moving
mouth puppet that they have built out of foam and fabric and will
acquire manipulation and lip-sync techniques.

STYROFOAM & PAPIER MACHE CONSTRUCTION with Ken Bonar & Nancy Smith,
Great Arizona Puppet Theater
Make just about any kind of puppet out of lightweight,
durable, inexpensive styrofoam and papier mache. Learn techniques
for reinforcement, making moveable mouths, controls, etc.

THE PLOT THICKENS with Luman Coad, Coad Canada Puppets
Learn the basics of dramatic structure as you write and
revise your own script for puppet theatre.

NEEDLE FELTED PUPPETS with Pam Corcoran
Learn felting techniques and complete at least two puppets.
Knitting can add a new dimension to felted puppets - and is also
great for manipulation skills.

TECHNIQUES IN TABLE-TOP PUPPETRY with Art Grueneberger, Puppet Art Theater
Learn how to build, perform, and direct multi-performer
table-top puppet productions. In this workshop participants will
become cast members in a performance of Grueneberger's "Perspectives"
that will take place at the end of the week.

ADVANCED MARIONETTE MANIPULATION with Phillip Huber, The Huber Marionettes
The Goal of this workshop is to demystify the process of
marionette manipulation and performance. Participants will work with
stock marionette figures from the Huber Marionette archive to
complete a series of movement and manipulation exercises.

PUPPETRY 101: A PUPPET SAMPLER with Lynne Jennings, Puppetry Center
of San Diego
Perfect for entry level puppeteers and educators and anyone
who wants to rediscover the basic and essential types of puppets.
Explore four different techniques in four days. Emphasis on how to
bring an inanimate object to compelling life. Experience in building
basics and
performance practice.

TRADITIONAL HAND PUPPETS: Casting Heads in Neoprene, Painting Tips,
and Manipulation Techniques with Karen Konnerth, Calliope Puppets
"I have been building shows and experimenting in materials
for over 25 years, and neoprene is my favorite material so far. Also,
lately, I love the traditional hand puppet."
Each workshop day will have two parts: Construction, and
Manipulation Techniques.

VENTRILOQUISM: AN ANCIENT ART DEMYSTIFIED! with Randel McGee, McGee Productions
A movable mouth puppet will be produced! Secrets of ventriloquism
will be revealed! Characters will come to life! Dialogue will be
developed! Showmanship will flourish! By the last class we will plan
for each participant to share a 2 minute presentation with their new
partner.

ROD PUPPETS AND PERFORMANCE with Paul Mesner, Paul Mesner Puppets
In this workshop, you will build simple rod puppets, learn
to manipulate them and create a short performance piece, ready to
perform by the end of the week. As a performer and director, Paul
Mesner has a unique sense of movement, dramatic timing and humor.
Don't leave your imagination at home, you will need it.

SHADOW PUPPETRY with Jim Napolitano, Nappy's Puppets
Hands-on exploration of traditional shadow puppetry including
history, construction techniques, materials, light sources and
manipulation. By the end of this workshop, you will have built at
least three shadow puppets, a free-standing, performance-quality
shadow puppet stage and a five-minute performance piece ready to take
on the road!

It is going to be a GREAT Puppet Festival! For more
information, please email us or go to the festival website at
www.puppetfestival.org. Please share this information with anyone you
think might be interested.
Thank you,
Debbie Lutzky Allen and Peter Allen
PuppetFest MidWest
www.puppetfestival.org

PUPPETS, MASKS, AND OTHER TRANSFORMATIONS

Exhibit through the entire month of April, at the Fairfax Library.

Frank uses recycled cereal boxes, etc to create artistic paper sculpture
masks, pin wheels, and puppets. He's a very nice person, enjoys having fun,
and showing how to recycle discards. Join him at the artist reception,
Saturday April 12, 3:00-6:00 PM. Excellent resourse for anyone who works
with children and other groups. Phone 415) 453-8092 for hours and
directions to the Fairfax Library. It is open several evenings until 9 pm.

Hello Guild Members,
The final phase of our guild "upgrade" to a 9 member board will take place
at our annual elections this May/June (whenever the next guild meeting is
scheduled.)

PLEASE SERIOUSLY CONSIDER SERVING YOUR GUILD IN ONE OF TWO WAYS:
(the time commitment is not great, the rewards are significant.)

1. Serve on the nominating committee (Job Description: work with other
members of the committee to select the candidates that will run for guild
office for the next election. Make sure they meet the qualifications of
guild office (not hard to do) and submit the slate of candidates to the
newsletter editor for inclusion in the May newsletter.
WE NEED A NOMINATING COMMITTEE IN PLACE IN EARLY APRIL; PLEASE CALL NOW.

2. Run for the guild board (Job Description: join the board of 9 to help
steer the guild through some exciting changes for a term of 3 years. The
guild board should meet at guild meetings (quarterly) and other times if
necessary, and do business by phone and email. Right now is a very
gratifying time to serve on the board, as guild meetings are drawing record
numbers of attendees, new members are joining at a rapid rate, and plans are
unfolding to serve the puppet community and theatre community in many
diverse ways. The board is also very open to new ideas and directions.
(For some exciting idea and direction examples, see the April Newsletter,
coming out early next month.)

Should you wish to discuss either of these guild positions you may contact
your president or any of the guild board,
listed on the board contact page of the newsletter.

--
Michael Nelson
SFBAPG President

Here's an interesting YouTube video clip which shows a little insight
into Alan Cook's puppet collection located in Pasadena, California:

http://www.youtube.com/watch?v=9x7TzuU7FlY&feature=related

In the video clip, Alan says that the collection contains over 3000
puppets; but now the volunteers say the number is really over 5000.

Please note that The Conservatory of Puppetry Arts has changed its
name to The International Puppetry Museum. The organization's new
web address is http://www.puppetrymuseum.org

-Mary Decker

What is a Guild? Thoughts in Progress by Guild President Michael Nelson
**

A new guild member recently wrote me the following:
*

"I'm excited to be a part of the Guild as it goes though what sounds like
some pretty big and interesting changes. I've been wondering what the point
of the guild is. This is the first time I've joined a guild and I'm not
entirely sure what the purpose is other than to have the opportunity to
fellowship with other puppeteers. I'm asking because I want to figure out
how and where I'd like to contribute as a new member."
* Below is my attempt to answer the question. When I was done I was not sure
if I was describing the guild, or possibly a puppetry center. What is your
opinion? What is the guild to you?

*To a certain extent I think the guild has been primarily a bit of a social
club for those with like interest. At the same time it has served to promote
puppetry to a modest extent, in that members have been able to serve as a
resource for each other, as well as encourage each other, and help each
other with techniques and materials and performance feedback. Also, the
guild has helped link newcomers to the art form, to other puppeteers and to
the various puppetry organizations in general. At times it has served in
limited capacity at promoting puppetry to an audience base, by participating
in days of puppetry, opening guild meetings to public and sponsoring shows
and workshops. Maintaining a website has also helped steer interested
parties to puppetry in Northern California.

To the professional puppeteer I think the guild has offered an opportunity
to help others with their interest in puppetry. Many of us received help
from the guild and its members when we were starting out, and see it as an
essential part of promoting the art of puppetry to help others with all
aspects of improving our art, from performance to building, etc. Performers
get to know each other and each other's work and can refer another puppeteer
when one is asked about a show that they can not take, or when one of us
gets sick or whatever and is looking for someone to take an existing
booking.

In the past I do not think the guild has offered much to the professional
puppeteer in other ways. Many performing puppeteers find that the meetings
and other activities of the guild compete with their time to earn a living;
it is hard to attend weekend meetings due to performances; it is hard to
find the time to serve on the board as a volunteer while one is trying to
run a puppetry business and develop one's own art. I would like to see the
guild help the professionals get work and opportunities to present our art,
and I think that the guild can do this. In the last several years I have
been hired to build puppets, perform and direct for 3 theatre companies that
do not normally include puppets in their shows. As puppetry has grown in
public perception, theatre companies are seeing the power of puppetry and
seeking to integrate puppetry with actors in their productions. One way the
guild could help to foster this is to increase the public perception of
puppetry in Northern California. I think that a concerted effort to get and
keep puppetry in the news and media would be most beneficial to professional
puppeteers in the Bay Area. To this end I am hoping to develop a strong
publicity arm of the guild, to keep guild activities and puppetry in the
public eye and mind.

I also would like to see our guild calendar grow to be the main resource for
locating puppetry performances in Northern California. This would mean
making it the most complete listing of puppetry events for many communities.
To do this, guild members and others would have to help by providing
information on upcoming performances. For some reason this has proved very
hard for guild members to do, even those whose incomes depend on performing
and audiences. I think once the calendar becomes a strong tool for marketing
puppetry, people will want to use it, but it is a bit of a catch 22 in that
it can't become that strong marketing tool until performers provide the
listings for shows to help get it started. Some guild members have said that
they don't contribute regularly to the calendar because they don't feel that
guild members come to their shows. I know that guild members come to our
shows when we list, and we go to listed shows when we can. I think one of
the best ways ALL guild members can support the art of puppetry is to go see
puppet shows. 1. We are in the guild because we like puppetry, so why not go
see shows? 2. It shows presenters of puppet shows that there is a market for
the shows and a desire to see them in the public so they will be inclined to
consider presenting puppetry again in the future. 3. You can learn something
about puppetry, even from a bad show.

In addition to the calendar, I think our internet presence could and should
be strengthened.

There are other ways the guild could help promote the kind of puppetry that
leads to jobs for professional performers, and I think we should look to
develop those as well. Of course one of the most obvious is getting our
professionals performing in the public eye. Performers know that to be seen
doing puppetry is the best way to get more work as a puppeteer. When we
don't have venues, we can not find our audience. I would like the guild to
use its many eyes and ears to find and catalogue venues in the Bay Area and
promote the idea of puppet shows to the curators of these venues. Having
members who support puppetry living in communities all over Northern
California is one of our greatest resources, one that we have not explored
or exploited. These are people that could and should be encouraging the art
form that they support in their own community. Another way of promoting
puppetry would be organizing or promoting puppetry festivals locally. Could
the guild organize a "roving day of puppetry" or "rolling puppetry festival"
like the Pacific Northwest is doing this summer, with guild members serving
as organizers and liaisons in their respective communities? Why not?

In addition, there has been discussion of puppetry education for young
persons interested in theatre and puppetry. I would like to encourage a
discussion among guild members of the idea of addressing this. One idea
might be to develop a guild puppetry education curriculum that guild members
could learn and be hired to teach in their communities. This both promotes
puppetry and gets performers meeting potential audience members and
purchasers of puppetry and services, while being paid. It is possible that
the guild could develop relationships with city recreation departments and
camps or schools to establish these connections.

I am very much in favor of the idea of the guild helping provide a venue for
non-commercial or undeveloped puppetry acts. The guild challenge (where
guild members develop a puppet skit around an idea or phrase for performance
at a meeting) could be this. I also like the idea of a puppet salon, where
performers could present works to the public, develop themes and ideas in
front of an audience and grow artistically in a creative and exciting
environment. This could also be a rolling event, with performances in
various communities in venues excited by the richness and artistic
risk-taking of the endeavor.
Another exciting area that the San Diego guild has developed is giant parade
puppets. These could be great guild group projects, with the guild
eventually having a cast of huge puppets that could be used in parades,
pageants and other events, calling attention to both the guild and puppetry
in a very dramatic way. How about a summer retreat where guild members get
together for a week and create giant puppets?

These are just a few ideas. What can you add to this discussion?

--
Michael Nelson

http://www.sfbapg.org/newsletter/archives/001034.html#more

Hi All, Happy April Fool's Day.
Your guild newsletter for this month is online and ready for viewing or
printing (really..no fooling!)
In it you will find:

*Reviews from Guild meeting shows (including Benny Bendini's and Independent
Eye's performances)*

*Upcoming Elections, call for candidates, nominating committee*

*Guild Spotlight on Ron Coulter and Sid*

*"What is a Guild?" Editorial*

*Free listing for party puppeteers*

*Calendar*

*And lots of great photos from the March guild meeting and workshop with
Liebe Wetzel.*

Enjoy.
Michael Nelson
Newsletter Editor