- Place of Use Continent - North America, Country - Canada
- Category Recreational artifacts
- Sub-category Public entertainment device
- Department Folklore
- Museum CMH
- Earliest 1971/01/01
- Latest 1971/12/31
- Materials Foam, Mammal wool, Wood, Nylon, Textile, Plastic, Cotton, Metal, Bamboo
- Measurements Height 70.7 cm, Width 69.0 cm, Depth 13.0 cm
- Related activity Puppetry
- Caption Senile Cinderella
- Additional Information Fifty years after the original ball, the Prince is still single, and he must hold a grand ball to finally choose a bride. Cinderella wants to go, but feels she can't. Then her Fairy Godmother appears and gives her a gorgeous wig, a new dress and a set of false teeth! Excerpt from exhibition text: Strings, Springs and Finger Things: A New Puppet Collection at the Museum, May 1996 to August 1998
- Caption Character from a theatre production
- Additional Information Senile Cinderella, 1971
- Caption Nancy A. Cole
Nancy A. Cole worked as a puppeteer for over 30 years. She trained with
George and Elizabeth Merten in the late 1950s and became involved with the Toronto Guild of Puppetry. Working with Lori Bucan, and later with Christiane Mioglio-Barker, Cole's company, The Friendly Puppet People, performed extensively throughout Ontario. Since then, her one-person shows have been widely imitated in both Canada and the United States. With Ken McKay, Cole developed a company called O.O. Sa. Can. U.C. Puppeteers, which produced shows for an adult audience. She also worked on CBC Television's Mr. Dressup. Cole was active in the Puppeteers of America, and was instrumental in creating a Canadian branch of UNIMA (Union Internationale de la Marionnette). She also served as president of the Ontario Puppetry Association in 1979.
Adapted from Figuratively Speaking: Puppetry in Ontario by Ken McKay, copyright 1990. Courtesy of the Ontario Puppetry Association and Ken McKay.
- Caption Rod Puppet
Generally, the term "rod puppet" refers to a category of puppet which is manipulated from below with rods. Usually a central rod supports the head, while two smaller rods control the arms. In some cases, the central rod can be concealed by the puppet's costume. Often, the torso and arms are not fixed to the central rod supporting the head, enabling the head to move independently from the body. In other variations, the torso and arms of the puppet are fixed, like the head, to the central rod. When the puppet is not a humanoid figure, a series of rods may replace the central rod - as with a snake, for example. The term "rod puppet" can also imply any use of rods to animate the puppet, whether the puppet is controlled from below, from above (e.g., for the rod marionette, for which some authors use the term "rod puppet"), or on the same plane (e.g., with the bunraku-style puppet, which some authors also classify as a rod puppet). Strings are sometimes added to the rod puppet. When these are pulled, they allow the puppeteer to articulate other parts of the body, such as mouth, eyes and legs.