Showing posts with label Bread and Puppet. Show all posts
Showing posts with label Bread and Puppet. Show all posts

Sunday, May 1, 2016




















On Good Friday 1970, the activist priest and poet Daniel Berrigan, whose resistance to the war in Vietnam included the ritual destruction of draft board records as a member of the Catonsville Nine, eluded the FBI and went underground immediately after giving a speech to thousands of students in the Cornell University gymnasium by exiting from the building inside one of Bread & Puppet Theater's disciple puppets. Berrigan died yesterday at the age of 94. This photo documents that day.
"'On the very day he was scheduled to begin his prison term, [Daniel Berrigan] left his office keys on a secretary’s desk in Anabel Taylor Hall and disappeared.' –Anke Wessels, director of Cornell’s Center for Religion, Ethics, and Social Policy 
"Cornell celebrated Berrigan’s impending imprisonment for his involvement in the Catonsville Nine action by conducting a weekend-long 'America Is Hard to Find' event on April 17–19, 1970, which included a public appearance by the then-fugitive Berrigan before a crowd of 15,000 in Barton Hall. Also scheduled to appear were Phil Ochs, Judy Collins, Country Joe and the Fish, and Bread and Puppet Theatre.
Berrigan evaded FBI agents, who were present in large numbers, by climbing into one of the 15-foot tall puppets, walking out of the venue, and into a getaway car.”

From another post:
“I was in solitude all of a sudden in this large gathering,” Berrigan recalled when someone whispered in his ear, “do you want to go out of here?” After a few moments of contemplation, the fugitive priest concurred. He would make his escape from the clutches of the FBI with a little help from the Bread and Puppet Theater. Father Berrigan recalled being told by an anonymous benefactor, “just follow me, the lights will go out, just hold this stick.” He later described his escape:
“When the lights lowered for a rock group, I slipped off backstage. Students helped lower around me an enormous puppet of one of the twelve apostles . . . Inside the burlap, I had only to hold a stick that kept the papier-mâché head aloft, and follow the others, making for a panel truck . . . I climbed in, blind as a bat, sure of my radar, spoiling for fun. It was guerrilla theater, a delight, just short of slapstick. An FBI agent ran for the phone, our license plate was recorded, the chase was on. But our trusty van, hot with destiny, galloped for the woods, and we made it.”
Later, in 1981, Bread & Puppet was inspired by and collaborated with Daniel Berrigan, his brother Philip, and their colleagues of the Ploughshares Eight anti-nuclear activist group to create the production "Swords and Ploughshares."

Sunday, August 30, 2015

The Overtakelessness Circus 2015

Bread and Puppet honored Emily Dickenson this year. Every year there is a writer who somehow is worked into the presentations. I recall Marx, Ernst Bloch, Marcuse and others. Of course Grace was often honored by Peter Schumann, but as far as I know, this is only the second woman who has been thus featured.

Wednesday, January 2, 2013

Puppets, Peace and Political Art




....A discussion held in December at the Theater for the New City with John Bell, Peter Schumann and Tom Finkelpearl. Both Grace and Bob Nichols are mentioned in this discussion. Bob was an enthusiast of Noh drama and for a period in the 1960's Bread and Puppet created theater directly influenced by this Japanese dramatic form.

Sunday, May 6, 2012

May Day in NYC-- from Rude Mechanical Orchestra to Bread & Puppet



http://youtu.be/n6_iY69P2jU
at the end of this tape are shots of the Bread and Puppet boat.


When i first saw Peter Schumann at Union Square on May Day, he was all alone with some small plastic bag rolls and some splintery sticks and the banged up fatso head and it looked so desolate. I thought, wow it has happened-- the new world is here--all the sparkly new OWS creativity,etc and Bread and Puppet is, well, just a bunch of sticks and paper--- UNTIL-- an hour later, I was astounded to see the theater's resurrection boat come around the bend at Union Square.

What a super glorious site-specific totally brilliant work!   Bread and Puppet's use of interactive, visual spectacle scattered the  Occupy bits and pieces, crepe paper flowers, and plastic chains like confetti!

This is what political art can be! Fantastic dancing sail, simple blue band of prescient images of climate changed drowning victims, all those lovely hopeful faces of the marchers inside the boat, gathering more as they sailed down Broadway, a band of defiant Noahs, sailing to glory.

And behind marched Uncle Fatso, in his pathetic pursuit of the revolutionary sailors.
still fotos by Solveig Schumann

As Grace Paley said about Bread and Puppet, "AH!".

Amen.

Monday, December 19, 2011

A Man of Flesh & Cardboard: a play about Bradley Manning



Politics and Protest in Papier-Mâché Heads

Peter Schumann’s Bread and Puppet company, a staple of the Off Off Broadway calendar for 40 years, is a refreshing reminder of the vitality and power of street theater. Part carnival, part protest, all pageant, Bread and Puppet productions express political outrage and satire, sometimes coarse and raw.
Lee Wexler/Images for Innovation
Bread and Puppet Theater is presenting "Attica," a 1971 piece, at the Theater for the New City.

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Using outsize papier-mâché heads and intricate masks and costumes, the shows offer a funhouse-mirror reality. Narration is barked through a megaphone, and words are usually secondary to the music: loud beats of a drum, cymbal or gong, backing Mr. Schumann’s screechy violin and razzy kazoo. Plots are mostly sketchy, but images nestle firmly in memory. There isn’t a lot of nuance in a cartoon.
Now at the Theater for the New City, the company, based in Glover, Vt., is offering a program of two works. (It is also presenting a separate show for young audiences called “Man = Carrot Circus.”) The first, “Attica,” revives a piece Mr. Schumann first created in the weeks following the notorious 1971 riot at that prison and its aftermath; a giant-headed governor is undisturbed by the bloody resolution he orders, while a “gentleman angel” hovers over a prisoner’s corpse.
A new work, “Man of Flesh & Cardboard,” is an extended howl at the treatment of Bradley Manning, the Army private now imprisoned for more than 18 months on charges that he provided government files, including a video of an American helicopter attack in Baghdad, to WikiLeaks. (On Friday, a day before Private Manning’s 24th birthday, he will have his first public hearing: the military equivalent of a grand jury will be convened to determine whether prosecutors may proceed with his court-martial.)
Much is inscrutable in “Man of Flesh & Cardboard,” which presumes a great deal about the case. At times two women portray a Private Manning and a Soldier Manning. News organizations — embodied as an old, compliant woman — are indicted for being credulous and complicit with the military. At one point, figures clad in black pirouette with their arms extended, like the posed prisoner in Abu Ghraib; at another, cardboard skeletons share a dance of death.
Now in his 70s, Mr. Schumann shows that he remains urgently invested in the politics of the age. In introductory comments to the audience, he calls Private Manning a prisoner “for having committed the crime of exposing war crimes.”