puppetry

The Scratch Stock

In order to cut the flutes in the columns on my puppet stage, I made up what I recently learned is called a “Scratch Stock” (see Peter Follansbee’s blog ) from some maple and a piece of an old saw blade, in the form of a marking guage- with an adjustable fence. On a side note, Peter Follansbee’s blog is quite interesting and unique- captivating even- for people who appreciate those who are exceedingly well aquianted with the specific history and dedicated to the authentic quality of their work. One can also visit his website to see some of his extraordinary work in 17th century joined furniture.

You can see the saw teeth on the top and the cutters I cut on the bottom.

Shaping the cutters with a saw tooth file.

Scratching the flutes into the black walnut held in a little jig made with a couple of nails in one board and another to one side to act as a fence. It takes many slow passes across the hard walnut, and the ends are cleaned up with a small gouge.

Another view before the jig. I have a lot to learn but I am getting there.

New Puppet Theater Stage Front

Above is the new stage front for the puppet theater, temporarily set into place. Note the stage-wings (right and left), carved corbels, columns and sulphur inlay panels from earlier posts in their proper context. The new main stage front still lacks the obvious finishing, and the less obvious details. The front will also boast curtains and screens shielding both the wings from the front and leading back to the shadow screen (seen behind the main front). I have a lot of work to do on many aspects of the theater and props leading up to the theater’s performance of The Two Deaths of John Beartrist Laceroot this spring- the first performance in over five years.

The stage front on the workbench in the shop as the colomns are being affixed. The next post will cover the cuting of the flutes in the columns, and the special tool used to cut them. The proscenium panel is cut from an ancient piece of reclaimed walnut. The tree must have been quite big and old judging from the many close-set rings in this one piece alone.

Puppet Stage Details

These are two small turned black walnut columns and flat black walnut panels with sacred numerology inlayed with sulphur to be attached to the under-story of the puppet theater.

Shadow Puppet Mechanics

A backstage view of John Beartrist Laceroot and Mystichearingus Wolf.

The shadow screen set up on the work table for repairs and modifications.

Carved Walnut Corbels

On the bench are the low-relief carvings of two corbels in black walnut, which will support the extension wings to the puppet theater. It is important that all aspects of the theater be given special attention. “Every day part of one day” -brother lesser apollos.

Jonas and Laceroot Puppets

Jonas, the large marrionette in the foreground and John Beartrist Laceroot, a rod puppet, behind him.

Tremendum Goldbeard

The School of the Transfer of Energy Puppet Theater is out of storage and is undergoing repairs and modifications- as well as new work. This is the head of Tremendum Goldbeard, made of copper and cedar, who will be a character in Part Two of The Two Deaths of John Beartrist Laceroot.

The Two Deaths of John Beartrist Laceroot

There are some new pictures (new to this blog at any rate) of School of the Transfer of Energy Puppet Theater’s production of The Two Deaths of John Beartrist Laceroot. They were actually added to the puppet theater page a little while back, however I have neglected to point them out until now.

I might also announce that you can now reach this blog alternatively by using the domain, theschoolofthetransferofenergy.com.