Theatre Design & Technology - Fall 2011 - 50

(left) Kyle Barrineau explains the foreleg construction.
(bottom) Closeup of front leg wooden handle and clamp.
(below) Closeup of rear legs, showing rods, pistons and cables.

moment." He realized that by "using the pivot axel under the ear as the
drive point and not the circumference of the ear itself [as he had done
in the past], I was able to radically increase the amount of distance the
ear would travel by winding the drive string round this much narrower
cylinder (Taylor 2009)."
In a TED Conference presentation in 2011, Kohler summarizes how
the head puppeteer operates his War Horse puppet: "He has bicycle
brake cables going down to the head control in his hand. Each one of
them operates either an ear, separately, or the head, up and down. But

48

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he also controls the head directly by using his hand. The ears are obviously a very important emotional indicator of the horse (Jones 2011)."
The "heart" puppeteer, harnessed inside the front part of the horse
puppet, initiates breathing and controls the front legs. The breathing effect is achieved mainly by the way the puppeteer bends at the knees. He or
she can also indicate breathing by subtle movements of the puppet's front
legs. This is achieved while in a relatively erect position, although the puppeteers in the horses do tend to keep their knees flexed and move with
slightly inclined posture for maximum fluidity.
The front legs of the horse are manipulated via a small wood handle
and lever, similar in design to a racing bike handlebar and brake clamp,
extending from the front of the forelegs in the shape of a V turned forward
ninety degrees. Cording is attached to the front clamp to allow for further
refinement of the movement.
The "hind" puppeteer controls the hind legs and the tail. The hind
legs operate via a rod mechanism that is similar in function but distinct in
location from that used on the front legs. The puppeteer reaches forward
to clasp a rod (similar to a cross-country ski pole) on each side. These
are fitted with handles and clamps, as well as pistons. The rods connect
to the rear legs just above the fetlock joints and are used to control the
movement of both the rear legs and, with a cable and clamp, also the tail.
Tail swishes, like the ear swivels, are essential elements and indicators of
equine character.
The realistic functioning of the horses' legs is facilitated by the inclusion of articulated knee and ankle/fetlock joints. The leg joints are
designed with a bit of natural play, like our own ball and socket joints.
Small vibration dampening mounts help achieve the right effect. The knee
joints on the front legs include a rectangular pad of dense black foam that
is applied at the connection point of the knee joint. (This padding also
covers the bottom of the hooves.)



Table of Contents for the Digital Edition of Theatre Design & Technology - Fall 2011

Contents
Theatre Design & Technology - Fall 2011 - 1
Theatre Design & Technology - Fall 2011 - 2
Theatre Design & Technology - Fall 2011 - 3
Theatre Design & Technology - Fall 2011 - Contents
Theatre Design & Technology - Fall 2011 - 5
Theatre Design & Technology - Fall 2011 - 6
Theatre Design & Technology - Fall 2011 - 7
Theatre Design & Technology - Fall 2011 - 8
Theatre Design & Technology - Fall 2011 - 9
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Theatre Design & Technology - Fall 2011 - 11
Theatre Design & Technology - Fall 2011 - 12
Theatre Design & Technology - Fall 2011 - 13
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Theatre Design & Technology - Fall 2011 - 18
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Theatre Design & Technology - Fall 2011 - 27
Theatre Design & Technology - Fall 2011 - 28
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Theatre Design & Technology - Fall 2011 - 37
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Theatre Design & Technology - Fall 2011 - 41
Theatre Design & Technology - Fall 2011 - 42
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Theatre Design & Technology - Fall 2011 - 46
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Theatre Design & Technology - Fall 2011 - 50
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