This page is split into two sections: how to operate your puppet, and how to get on and off stage.
Use this link to scroll to the second section.

Operating your puppet.

Or How to Lip Synch Better Than Professionals

This guide is for 'muppet' style puppets, or any puppet with a mouth operated by the puppeteers hand. String puppets are outside my realm of experience, and are therefore not tackled by this guide.

1. Positioning of the arm and shoulder:

The arm should be raised above the head, with the elbow extended to it's fullest extent. In this position the elbow is locked, and will not bend, however heavy the puppet. Your shoulder supports the puppet, and will last through the longest performance: guaranteed! However, if the elbow is not locked, your puppet suffers: see the health bulletin (Puppeteer's shoulder) for more details. It is worth practising holding up a bag of sugar for a while, both with the elbow locked, and with it bent, to see the difference in stamina that is possible.

2. Positioning of the wrist:

This is the first of the positions and movements that cause pain in the initial stages. The wrist must be tilted as far down as can be achieved - more so if you are planning to be performing on a high stage. You are aiming to have the puppets face looking toward the audience, maintaining eye contact. If the puppet is staring into space, you will not hold the audience's attention.

TIP: When using the puppet, look up - if you can see the bottom of the puppets eyes, you should find the puppet is looking at the audience properly.

3. Opening and closing the mouth:

Most people you talk to do not have 'flip top heads', that is their upper jaw and head do not move as they speak. Just as in real life, puppets should not move their upper jaw when speaking. This is the second set of movements that cause pain until stamina is built up. Only the thumb must be moved: the fingers should remain still. Try counting to ten. Start with the 'mouth' shut, and open for each syllable. Don't forget that seven has two syllables. Watch carefully: snapping is when the mouth closes with each syllable, and is open for the rest of the time. It resembles a badly dubbed film when you are watching the performance. This should be stopped to avoid a habit developing.

4. Now have a go with the puppet on!

Most puppets have somewhere in the mouth to fix your fingers so that they are not flapping about ineffectually. Usually this is a piece of elastic, or under the foam padding forming the puppet's skull. Keep practising, and build up your stamina: it does get easier.

It is important to realise that people do not remain still when on stage. They are constantly shifting from foot to foot, looking distractedly at the ceiling, walking from place to place. Movement keeps the audience's attention, and it is vital that the puppet does not remain still for a moment.

Moving the puppet's arms comes with practise. Attach rods with elastic bands, and move the arms. Practise scratching your puppet's head, picking its nose and other such mannerisms. Two arms are more difficult to manage on your own, but it can be done: try holding the two rods like chopsticks, and practise moving each in turn. With experience it is possible to make your puppet applaud your efforts!

Getting on and off stage.

Or How To Make An Entrance

Coming on and off stage is one of the most important techniques to master. It is this aspect of puppeteering that adds realism to a performance. There are many ways of doing this. Some more realistic than others, and some better used in some performances where others would be inappropriate.

	The Escalator This is a smooth movement across and up until reaching operating height, as if on an escalator (hence the name).
	The Stairs Walking up from the 'green room' is the most common, and realistic, way of entering the stage. A series of four 'bounces' is made, each a little higher and further along than the last, as if ascending a flight of stairs. Tricky to master, but invaluable. Of course, turn the other way before going down again! NOTE: Both the stairs and the escalator can be directed either from side to side or from back to front. Just remember where the stairs were when you leave the stage again!
	The Lift (or Wurlitzer Effect) This is used for a slow steady upwards movement as if in an elevator. The Wurlitzer effect is if several puppets do it at once, as if on the top of a Wurlitzer organ rising from the stage. This can be used to good effect during a quiet introduction for a song where the sudden appearance of puppets would destroy the moment.
	The Trapdoor For sudden removal of a puppet from the stage, a trapdoor may be opened underneath the character causing it to fall straight down. In some performances, a catapult effect from below stage can also be useful.
	The 'Swoon' Used in times of severe stress and fatigue, the swoon is useful for allowing a puppeteer to swap arms halfway through the performance, or to correct clothing or prop problems with the puppet. The puppet is seen to fall back and out of sight, and then to come back on stage in a suitable manner (see above).