The Independent-News, Volume 100, Number 6, Walkerton, St. Joseph County, 6 September 1973 — Page 12

MfW'jA.A. | • - J \ I® '’VTw r I s^>^4 r t Bruce Bucknell “the expert on body const ruction and painting”.

The Bucknell Pu

by Jean Lyon Bruce and Nola Bucknell of Cedar Rapids, lowa, are professional puppeteers with a long and successful career. Pulling the strings of successful entertainment started for Bruce when he was ten years of age. One of the outstanding features of the Bruce and Nola duo is that each has a part to do. Each part is played in a most efficient, professional manner. Nola, in addition to making clothes for the puppets, goes on tour booked alone or with Bruce. Bruce, also a professional performer, is creator of the puppets and their method of staging. Mr. Bucknell, formerly a building contractor, has an unusually helpful background. Puppeteering became profitable for Mr. Bucknell because of his own creative ability. He did not have to research for what he needed about construction of puppets, when even on the continent it is a closely guarded secret handed down from father to son. To start a new act, first the character is created to do the routine the Bucknells have determined for it. The figure must portray in character what the puppet will be. The most important construction is the head with the facial features. A clay model is shaped showing certain happy features. The model is then placed in a plaster of paris mold. This white mold consists of three to seven pieces, depending on the necessary undercuts. When dry, each piece of the mold, filled with a one-fourth inch layer of plastic wood, is clamped together. The new head is left under water for two days to harden, before the mold is removed. After standing it is ready for three coats of flesh paint before any features are added. Because of the possibility of theft or fire, Bucknell always makes two or three heads alike for each character. The hair is painted, of monkey fur, or of plastic wood. Almost all of the eyes are painted. Some puppet’s eyes are counter balanced. Each works with a separate string. The torso consists of two or three wooden pieces connected by leather thong. So that the hula dancer can properly do her dance, her torso is composed of three pieces of wood in-

—- - IkQPVICK :::::: Svlk Wk IE Illi ~ "r > Removing the clay head from, the pieces of the plaster model of a head.

eluding a ball and socket joint, which gives her dexterity. The arms consist of three leather thong hinges between the two wooden pieces. While the men’s upper arms are cloth, the women’s upper arms are carved wood. This is necessary’ because of varying sleeve lengths and types of formal necklines. Two hands are carved together at the wrist, then separated. The hands are rough cut on a band saw, then double cut. A number of fingers are removed depending on one of the six hand positions of the puppet. They (fingers) may be straight or curved. Though some animated characters with accentuated hands have only three fingers and a thumb, probably only a professional would make the observation. All legs have three joints. The hinges are made of trunk fiber, a compressed paper, that is fastened with pins. The knees, like ours bend just one way. Male and female legs are not always alike on the puppets. Some puppets are made bow legged. The combined feet and shoes are cut and carved by the same method as the hands. Taps are necessary on the dancer’s shoes. For a female tap dancer, a weight is inserted in the bottom of the sole. While the standard control for a puppet has nine basic strings, more strings are added to certain puppets for special effects. Opening and closing the mouth, winking either eye. deep breathing, and any other particular action or movement require an additional string for each. The string is thirty pound test, silk, fish line. The strings are attached to screw’ eyes in the head and holes in the wood in other body parts. Except for the back and belly strings, and for the splits, most strings are in pairs. Strings are usually twenty-four inches long. Most puppets operate individually. However, Mr. Bucknell has created a dance trio, two gals and a guy that act together with one control bar. Paint for the puppets includes lacquer, tinting oil, and talcum powder. Mr. Bucknell in researching painting techniques and materials has produced likeable, appealing colors with life like hues. The average puppet weighs from five to

wr J Final finishing on the hands.

I ™ st / b Lilt Ji i HL Mt a aR . MW Thirty-six meh bags for each puppet keep them clean, easy to pack, and help preserve the costumes.

twenty pounds and is thirty inches tall. Nola designs and makes the beautiful puppet costumes. She buys the best of material from theatrical houses, Marshall Field, and various Cedar Rapids stores. The puppets are well dressed in costumes proportioned like human being’s clothes. Replacement and cleaning of parts and costumes are important. Leather and strings wear in two. To avoid having a tap dancer’s foot fall off, Bruce has now changed the design of the hinge to include a screw instead of a pin that could wear or slip out. A puppet is usually three or four years old before many replacements are necessary. The Bucknells stress fresh looking costumes. During the three or four years they are used the clothes are commercially cleaned or hand laundered at home by Mrs. Bucknell. Belly strings and back strings wear through. Paint wears off of the dancer’s shoe soles requiring retouching. The puppets vary in value from $400.00 to $2,500.00 each depending on the time involved in the construction and costuming of the puppet. It takes an average of 300 hours to make the clothe a puppet and sometimes more if the costume is elaborate. Bucknells have over three hundred complete marionettes. In their work shop are numerous replacement parts for repairs or future additional puppets. When one takes approximately 250 to 350 hours to carve and construct a puppet, one really is an enthusiast about and lover of puppetry. To go on the road, six pieces of equipment weighing approximately 900 pounds are needed for a show. This includes rack, stage, tape recorder, spot lights with cords, and two cases of puppets. Shows are usually fifteen, thirty or forty-five minutes depending on whether the entertainment is furnished solely by Bruce or Nola or if other acts are integrated into the time allowed for entertainment. It takes five to seven minutes to pack up after a show, depending on whether it is a singleton or one including both Bruce and Nola. The rack built of square aluminum tubing is four feet wide and six feet high. It is entirely a one piece assembly. There are no bolts or wing nuts to misplace or lose. A black curtain covers