Translation of "Puppet player" in German

Eric Deniaud met a number of musicians and artists, as well as stage manager, puppet ­player, Rachid Abu Sheireikh.

Here the sicilian puppet-player Emanuele Macrì " explains me the stages they are almost always two: that true with the sicilian puppets and the room with the public " also Says that the theater of the sicilian puppets has not followed anymore, that people don´t suit us more, that the television and the cinema have killed the work. Certainly the sicilian puppets have lost very public, but the faithful ones don´t miss.

In this way the sicilian puppet-player is forced to a smaller effort, even if always serious: folded up in two on the bridge, with the pupo in a hand, through the iron and the other busy to move the threads to create the movement.

Certain leads would seem to support this theory: for example, an opera actor always refers to a puppet player as "Master".

Pieces of Edgar Allen Poe, Goethe‘s “Faust”, “Robinson Crusoe” or “Treasure Island” are staged by the ensemble around the puppet player Karl Huck in an unusual manner and often as one-man play with music.

Socalled is a pianist, producer, composer, rapper, singer, journalist, photographer, filmmaker, magician, comic author and puppet player from Montréal.

Here Moeyaert tells the story of the blossoming love between the young Suzanne and a puppet player during a grotesque village argument about an annoying dog compound.

In the 1950s the famous puppet player, producer and director of the Moscow Puppet Theatre Sergei Obraztsov brought Siamese cats from Poland, Hungary, GDR and Thailand (?)

Rarely law the script because a true sicilian puppet-player knows only not to memory the whole cycle of the Paladins (what hard eighteen months, that is over five hundred evenings, that is thousand hours) but a big number of other scripts of other epic and chivalrous cycles (religious texts are almost entirely by now gone out of the use).

Recited live rigorously in the typical rhythmics of the sicilian puppet-players......

They have become puppets whose players have lost hold of the strings.

As the number of companies of actors performing the Commedia dell’Arte increased, so did the amount of puppet and marionette players who, very soon, would also be found in the rest of Europe.

Depending on the chosen puppet, players can also summon various powerful beings to aid in the fight and help to defeat strong foes.

The population of the place have the merit to have saved an ancient tradition, they are able to jump irritated on the stage to grab to the throat the traitorous Gano of Maganza (generally he is paint with strong colors, grim, dominated by the black), but above all to the pressure of the two puppet-players (who work with Sicilian puppets), respectively Mariano Pennisi and Emanuele Macrì.........

Emanuele Macrì, student and adopted child of one of the most illustrious catanesi puppet-players of the past, Mariano Pennise, doesn´t have doubts on the superiority of the catanesis puppets on those palermitanis.

Thus, a series of techniques were developed to adapt the most popular theatrical scripts for the specific use of puppet and marionette players.

These bots can be used like puppets though, players can manipulate them to follow the player's commands such as follow the player around and fire their weapon.

Then it took root in southern Italy – the oldest written proof of shadow theatre in Europe is from there and is dated 1674. Comedians and puppet players brought this inspiring play form over the Alps to northern Europe. Just nine years later a company of actors in Danzig asked for permission to perform “Italian Shadows.”