When puppeteers arms start to get tired, their puppets start to drop lower and lower behind the stage. Or, the puppeteer will lean his arm against the stage front. I have been guilty of both, and both will hurt the quality of your performance.
The secret to preventing arm fatigue when puppeteering is preparation before the show. By using short segments in your show that allow your puppeteers chances to rest their arms and by exercising and strengthening the arms before performance dates.
The following exercises will help the puppeteer become more skilled, as well as gain hand, arm and shoulder strength.
Table of Contents
Exercise One
Use the word “drop” in this exercise. Actions are dropping movements.
Start by saying the word “drop.” The puppeteer drops his head toward his chest each time he repeats the word. Then add the arm dropping with the head each time the word is said. Finally, Add dropping the thumb with the head and arm as the word is repeated.
This movement helps the Puppeteer understand the rhythm needed for lip sync. To vary the exercise, do the same thing in reverse.
Begin by dropping the thumb as the word “drop” is repeated. Then add the arm and finally the head. To conclude the exercise, gradually stopped moving the head, then stop the arm, and finally stop the thumb movement.
Remember all movement takes place as the word “drop” is repeated. During this exercise, the puppeteer needs to watch the thumb as it is dropped. Lip-sync is improved as the puppeteers learn to express themselves through their hand.
Exercise Two
To build strength in the hand, have puppeteers take Flex balls or tennis balls in the palms of their hands. Squeeze and release the balls for several minutes.
Exercise Three
The puppeteers take a stick of modeling clay in their hand in a squeeze it is hard as possible. Then passed the clay to the other hand and squeeze. Repeat this process for several minutes
Exercise Four
The puppeteers cross their arms as if sitting quietly and listening. Then with one hand under the arm and against the body of the puppet, they lip-sync a speaker with the thumb only. They can do this while listening to television, watching a movie, or listening to a speaker. The exercise keeps the top four fingers stationary while building the muscle and coordination of the thumb.
Exercise Five
To help the puppeteers learn to speak through their hands, have them talk to each other using their hand without a puppet. They lip-sync their normal conversation. This exercise also helps begin the process of learning to react with their hand. Another variation of this is for the puppeteer to lip-sync telephone conversations.
Exercise Six
The puppeteers practice lip sync by placing one hand under a table the four fingers are against the table so they cannot move. Only the thumb moves up and down. A variation is to move the thumb up and down without attempting to lip-sync to dialogue.
Exercise Seven
This exercise is similar to exercise 6. The puppeteers place their lip sync hand in front of their bodies. Then place the free hand over the lip sync hand and hold firmly. Exercise the thumb in a lip sync motion with the four fingers of that hand firmly against the freehand.
Exercise Eight
The puppeteers vigorously shake their lip sync hands, keeping the arms as still as possible. Gradually slow down the shaking motion until it is stopped. If executed properly, the hand should be tingling. Then gently pull the top four fingers together and move thumb to the lip sync position. This is a good exercise to use during a performance after a long script or song. It relaxes the muscles and helps the puppeteers get ready for the next part of the program.
Exercise Nine
The puppeteers raised their lip sync hands into the air, spreading the fingers and thumb. Then move each finger and the thumb as the leader instructs. Move one finger at a time. Suggestion number the Fingers 1 through 5. The leader calls a number and the puppeteers respond. The purpose is to build coordination and independent movement of each finger and thumb.
Exercise Ten
The puppeteers sit or kneel in the positions they will assume behind the puppet stage. They raised the lip sync hands, keeping the elbow in the bent position, to the side of their bodies.
Move the arms back several inches if possible. Then on a count of five, move the arms forward and up into normal position. The arms will then be fully extended with the elbow locked. On each number of the five count, use an up-down motion is if the walk puppet is walking.
Building strong arms and hands is important for puppeteers. It will take time and dedication but the rewards of being able to perform with professionalism make the effort worth it.
