ABSTRACT Title of Dissertation: THE PHENOMENOLOGY OF ...

the neck or arms. 34 Innovation and elaboration became the order of the day, and
puppeteers competed vigorously to introduce the newest and most exciting techniques
into their productions. 35
Fig. 4. John Bell. “English Marionette, 19 th Century.” Unpublished Collection
Photograph. Detroit: Detroit Institute of the Arts, 1989.
It is reasonable to assume, therefore, that marionette artists would be drawn to the
aspects of minstrelsy that would most allow for interesting movement, such as its
“challenge dances” and large musical numbers. 36 Such sequences would allow the
operator considerable occasion to demonstrate a sophisticated level of depiction. By
increasing the number of strings on each object, one could maximize the level of
exaggeration to accord with this essence of minstrelsy. The body strings, when separate
34
John Bell, Strings, Hands, Shadows: A Modern Puppet History (Detroit: The Detroit Institute of
the Arts, 2000), 17.
35 Evidence of their competitive nature is contained both in the rapid development and
dissemination of techniques, and the regular accusations of plagiarism and jealous guarding of secrets
suggested in the various histories. Paul McPhalin provides useful biographical examples in his: The Puppet
Theatre in America: A History 1524-1948 (Boston: Plays, Inc., 1949).
36 For a description and example of minstrelsy “challenge dances” see: Gary D. Engle, The
Grotesque Essence: Plays from the American Minstrel Stage (Baton Rouge: Louisiana State University
Press, 1978), 13-20.
31