{"id":{"repo_id":"ohiolink","oai_identifier":"oai:etd.ohiolink.edu:osu1363614334"},"canonical_url":"https://search.dev.ndltd.org/etd/ohiolink/oai:etd.ohiolink.edu:osu1363614334","repository":{"repo_id":"ohiolink","name":"OhioLINK","base_url":"https://etd.ohiolink.edu/acprod/odb_etd/ws/oai/oai"},"display":{"title":"Infecting the Inanimate: Puppet Theatre Responds to Aids","abstract":"In the early 1980s, the world became aware of a new pandemic, AIDS. Asfeelings of horror and fright captured the minds of many people, artists tried to addressthe issues underneath them. Theatrical performance became a prevalent way to expressthe frustration and despair about HIV/AIDS, and puppet theatre, in particular, has made acontribution to the discourse.I investigate how puppetry artists have addressed the illness by examining threecase studies, each with a different relationship to the virus and a different target audience.The first case is that of an infected artist, Robert Anton, who performed for a very selectfew. Although his illness was not manifest in his performance, the themes he exploredare similar to the themes explored by other artists infected with HIV. The second casecenter on Ronnie Burkett's marionette play, Street of Blood, constructed around the AIDS crisis. It was seen internationally from 1998 until its retirement in 2002 and received a great deal of critical attention. I further examine how Street of Blood is part of aspectrum of AIDS related plays. The final case involves the use of puppetry to educate amass audience about the disease, particularly through the television program, TakalaniSesame. AIDS in South Africa is a fact of life for the children of that nation andacceptance and understanding is part of the mission of Takalani Sesame and its producing organization, Sesame Workshop. It is my contention that the puppet form lends another layer of meaning with its ability to distance itself from the bounds of the human form. The combination of the distance with the topic of frailty and disease makes for veryeffective explorations of HIV/AIDS.","abstract_html":"In the early 1980s, the world became aware of a new pandemic, AIDS. Asfeelings of horror and fright captured the minds of many people, artists tried to addressthe issues underneath them. Theatrical performance became a prevalent way to expressthe frustration and despair about HIV/AIDS, and puppet theatre, in particular, has made acontribution to the discourse.I investigate how puppetry artists have addressed the illness by examining threecase studies, each with a different relationship to the virus and a different target audience.The first case is that of an infected artist, Robert Anton, who performed for a very selectfew. Although his illness was not manifest in his performance, the themes he exploredare similar to the themes explored by other artists infected with HIV. The second casecenter on Ronnie Burkett's marionette play, Street of Blood, constructed around the AIDS crisis. It was seen internationally from 1998 until its retirement in 2002 and received a great deal of critical attention. I further examine how Street of Blood is part of aspectrum of AIDS related plays. The final case involves the use of puppetry to educate amass audience about the disease, particularly through the television program, TakalaniSesame. AIDS in South Africa is a fact of life for the children of that nation andacceptance and understanding is part of the mission of Takalani Sesame and its producing organization, Sesame Workshop. It is my contention that the puppet form lends another layer of meaning with its ability to distance itself from the bounds of the human form. The combination of the distance with the topic of frailty and disease makes for veryeffective explorations of HIV/AIDS.","abstract_has_math":false,"creators":["Stoessner, Jennifer Kathleen"],"institution":"The Ohio State University","degree_name":"Master of Arts","degree_level":"masters","degree_discipline":"Theatre","degree_department":null,"school":null,"contributors":["Reilly, Joy"],"advisors":[],"committee_chairs":[],"committee_members":[],"year":2005,"date_issued":"2005","date_published":"2005","updated_at":"2026-07-24T03:37:01Z","subjects":["Theater"],"languages":["English"],"rights":["unrestricted","This thesis or dissertation is protected by copyright: all rights reserved. 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Theatrical performance became a prevalent way to expressthe frustration and despair about HIV/AIDS, and puppet theatre, in particular, has made acontribution to the discourse.I investigate how puppetry artists have addressed the illness by examining threecase studies, each with a different relationship to the virus and a different target audience.The first case is that of an infected artist, Robert Anton, who performed for a very selectfew. Although his illness was not manifest in his performance, the themes he exploredare similar to the themes explored by other artists infected with HIV. The second casecenter on Ronnie Burkett's marionette play, Street of Blood, constructed around the AIDS crisis. It was seen internationally from 1998 until its retirement in 2002 and received a great deal of critical attention. I further examine how Street of Blood is part of aspectrum of AIDS related plays. The final case involves the use of puppetry to educate amass audience about the disease, particularly through the television program, TakalaniSesame. AIDS in South Africa is a fact of life for the children of that nation andacceptance and understanding is part of the mission of Takalani Sesame and its producing organization, Sesame Workshop. It is my contention that the puppet form lends another layer of meaning with its ability to distance itself from the bounds of the human form. The combination of the distance with the topic of frailty and disease makes for veryeffective explorations of HIV/AIDS."]},{"key":"dc:format","label":"Dc Format","values":["application/pdf","p.135","1.24 MB"]},{"key":"dc:title","label":"Title","values":["Infecting the Inanimate: Puppet Theatre Responds to Aids"]}]}],"canonical_facts":{"dc:contributor":["Reilly, Joy"],"dc:creator":["Stoessner, Jennifer Kathleen"],"dc:date":["2005"],"dc:description":["In the early 1980s, the world became aware of a new pandemic, AIDS. Asfeelings of horror and fright captured the minds of many people, artists tried to addressthe issues underneath them. Theatrical performance became a prevalent way to expressthe frustration and despair about HIV/AIDS, and puppet theatre, in particular, has made acontribution to the discourse.I investigate how puppetry artists have addressed the illness by examining threecase studies, each with a different relationship to the virus and a different target audience.The first case is that of an infected artist, Robert Anton, who performed for a very selectfew. Although his illness was not manifest in his performance, the themes he exploredare similar to the themes explored by other artists infected with HIV. The second casecenter on Ronnie Burkett's marionette play, Street of Blood, constructed around the AIDS crisis. It was seen internationally from 1998 until its retirement in 2002 and received a great deal of critical attention. I further examine how Street of Blood is part of aspectrum of AIDS related plays. The final case involves the use of puppetry to educate amass audience about the disease, particularly through the television program, TakalaniSesame. AIDS in South Africa is a fact of life for the children of that nation andacceptance and understanding is part of the mission of Takalani Sesame and its producing organization, Sesame Workshop. It is my contention that the puppet form lends another layer of meaning with its ability to distance itself from the bounds of the human form. The combination of the distance with the topic of frailty and disease makes for veryeffective explorations of HIV/AIDS."],"dc:format":["application/pdf","p.135","1.24 MB"],"dc:identifier":["http://rave.ohiolink.edu/etdc/view?acc_num=osu1363614334"],"dc:language":["English"],"dc:publisher":["The Ohio State University / OhioLINK"],"dc:rights":["unrestricted","This thesis or dissertation is protected by copyright: all rights reserved. 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