How to pronounce “puppetry” in English

And puppetry, to think of it in terms of an impressionistic approach.

But that's just puppetry.

I'm the Puppetry Director and Puppet Co-designer for "Pinocchio" at the National Theatre.

As somebody who studied puppetry and trained in puppetry, the more I kind of hear about other people's acting training, or work with more actors and directors, great puppetry

So there is puppetry, there's music, there's gestural dance.

You teach them the puppetry?

And in the case of puppetry, I'm always a big fan of going right with people who've had experience, so no one is learning on the job over five days,

I think I've done puppetry jobs ever since.

And there's something really selfless about puppetry.

I think I made a little cardboard puppetry stage.

What was it like to perform with people in puppetry?

And there's obviously a big learning curve with puppetry specifically.

So puppetry is a metaphor, but it's also incredibly literal in that movie.

Is it worth saying a little bit about your puppetry experience before, or how you felt as you trained, what you trained in originally, and then

how that's kind of progressed into the weird world of puppetry?

And it was my first real experience of puppetry in any form.

Wasted in puppetry.

Because as a puppeteer-- because I have a puppetry background as well as an acting background-- I'm used to the puppeteer having to be somewhat neutral, and not being seen.

So it was definitely a transition from that puppetry world.

So and within the puppetry too, you're incorporating a lot of facial expressions

He said, we need some elements of puppetry and Jim Henson's the guy.

So he was working with companies that do what we call stick puppetry, where in other words, guys are standing under a grating

were giving space to the audience for their imagination, both in the stage and the puppetry design.

And it speaks to this idea and a certain mind, but this idea that puppetry is an incredibly practical or pragmatic art form.

And there's a long tradition, bunraku and kabuki puppetry, where you see the puppeteers operating.

And so three principles that I kind of use, the core ones anyway when directing puppetry-- the first one is focus.

And of course, Sicily has a tremendous tradition of puppetry.

And so it was amazing to see that practical effects, puppetry, animatronics, all played a vital part.

And then finally for us, this intersection of ancient forms joked about puppetry but it's not really joke, right?

You've woven together so many very interesting elements to tell the story, not just through the song and dance, but through beautiful puppetry, and really insane acrobatics.

We love our puppets, but we broke the cardinal rule of, I think, puppetry in perpetuity,

So again, we're just having this interaction between cast and physical objects in a way to puppetry the environment, to puppeteer Kong.

And we had some big decisions to make in terms of, OK, well if we're embracing marionette puppetry, which is quite a traditional art form, well then marionette puppetry

like a lot of people, just watched "Star Wars" all the time and stuff like that, a lot of animation, puppetry stuff.

And so it was really exciting that actually these guys, we'd had puppetry experience together.

The sort of aesthetic freedom, in this case, that comes with puppetry and the scale.

Yeah, that was a big change for me at first, because I've never done any puppetry before doing "Avenue Q."

But all you are privy to is the puppetry of snarling muzzles shot in artless close-up.