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VÝVOJ A SPÔSOBY PREŽITIA BRITSKÉHO MAŇUŠKOVÉHO DIVADLA PUNCH A JUDY – VYTVÁRANIE POST-TRADIČNEJ TRADÍCIE

100%
Reeve M. J.
Slovenský národopis (Slovak Ethnology)
|
2012
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vol. 60
|
issue 3
245 – 258
EN
Punch and Judy is one of a number of traditional popular glove puppet forms found across Europe. It is, by a considerable margin, the most numerous of these forms. This paper seeks to account for its relative success. It calls on research undertaken as part of an ethnographic study of contemporary performance undertaken between 2006 and 2007 towards a doctoral thesis. The research consisted of historical analysis and contemporary field-work. The article concludes that the success of the show in part depended on its emergence at a moment when late-modern class identity was coming to be constructed in Britain, that new class-oriented markets were emerging which commoditised cultural products, that performers adapted themselves and the show to these markets, professionalising themselves and, in more recent times, instituting organisations whose purpose was to secure the profile of the form. It goes on to suggest that current western preoccupations with heritage have provided a useful role for the form. The article argues that Punch and Judy puppet show has used the mechanisms of late-modernity to maximise its capital as an ostensibly traditional form.
2

PUNCH AND JUDY: WHOSE SHOW IS IT ANYWAY?

86%
Reeve M.
Slovenský národopis (Slovak Ethnology)
|
2013
|
vol. 61
|
issue 5
507 – 514
EN
Towards the end of the 20th century performers of the traditional British glove puppet show, Punch and Judy, began to document, to organize and to celebrate their own tradition in response to a number of perceived threats to it. In doing so, they produced tangible and intangible artefacts (texts and films) and experiences (festivals and meetings). These tangible and intangible products stand in contrast to the much of the documentation about the tradition which has been produced by non-performers. Taking the recent making of a DVD of Punch and Judy performers as its starting point, this paper considers this trend and suggests that Punch and Judy performers have regained control of their tradition through the production of these artefacts. The paper also points to the problems of terms such as ‘tangible’ and ‘intangible’. This paper is a slightly amended version of the paper given at the Anderle Radvan conference and puppet festival in Banská Bystrica, Slovakia, held on the 6th September 2013.
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