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Swazzle

A swazzle is a small, mouth-held device consisting of two strips of metal bound around a cotton tape or reed, designed to produce a harsh, rasping, and shrill voice effect essential to traditional puppetry performances.^[1] Originating in English puppetry traditions, the swazzle has been a guarded secret among "professors" (Punch and Judy performers) since at least the 17th century, when Punch and Judy shows evolved from Italian commedia dell'arte influences, though similar reed-based voice modifiers date back potentially to antiquity.^[2]^[1] The device is placed between the tongue and the roof of the mouth, where the puppeteer blows air through it to vibrate the reed, creating Mr. Punch's iconic high-pitched squawks and chirps that convey anarchic mischief without relying on conventional dialogue.^[2] Its name may derive from the German word "schwätzen," meaning "to chatter," reflecting the buzzing, talkative quality it imparts.^[2] The swazzle is not unique to England; analogous devices exist worldwide, such as the French pratique (documented as early as the 16th century), the Russian tool for Petrushka puppets, and variations in Iranian, Indian, African, and Chinese traditions, often using materials like bamboo, ivory, or metal to match character traits or surreal effects.^[1] In Punch and Judy shows, the swazzle's limitations—producing only elemental, non-verbal sounds—enhance the form's chaotic comedy, as noted by experts: "Meaningful dramatic dialogue… can never take place. He is an elemental spirit of anarchic mischief – and his swazzled voice alone tells us as much."^[2] Historically, mastering the swazzle was perilous, with records of fatalities from choking on similar devices, including a French puppeteer who swallowed his pratique in 1866, and its design was once a closely held trade secret passed only to dedicated apprentices.^[1] Today, while still used by around 300 active professors globally (as of 2017), with approximately 250 in the UK as of 2024, commercial versions are available, democratizing access to this foundational puppetry tool.^[2]^[3]

History

Origins and Invention

The swazzle, a reed-based voice-modulating device, has roots in various global puppetry traditions predating its well-known use in European performances. One of the earliest documented examples of a similar instrument appears in China during the Tang dynasty (618–907 CE), where the u-dyu-dyu, constructed from bamboo or iron, was employed to alter performers' voices in theatrical contexts.^[1] In India, particularly among Rajasthan's kathputli puppeteers, a comparable device has been used traditionally to produce a serpentine, deformed vocal quality for puppet characters, though specific invention dates remain unrecorded.^[1] In European puppetry, the swazzle's precursor, known as the pivetta in Italy, emerged in the 17th century as a tool for modulating voices in commedia dell'arte traditions. Historical accounts from that period describe puppeteers using the pivetta—a small whistle-like reed—to create distinct, rasping tones for characters, allowing operators to maintain anonymity behind the stage. Severio Quadrio, a 17th-century Italian scholar, noted its application by Pulcinella performers, who employed varying sizes of the device to differentiate character voices and add expressive nuances during recitations.^[4] This ties directly to the rise of the humpbacked, quarrelsome Pulcinella figure, a staple of itinerant street theater originating in Naples around the late 16th century, where the pivetta enabled the mimicry of exaggerated, otherworldly speech without revealing the human operator.^[4] The exact invention of the pivetta or its European variants remains undocumented, with theories suggesting it was developed by anonymous traveling puppeteers in the 16th to 17th centuries to enhance the comedic and grotesque elements of glove-puppet shows. Early adoption is credited to "professors" of the craft—skilled, unnamed artisans who guarded the device's construction as a trade secret, passing techniques orally through generations. By the mid-17th century, similar voice-altering tools appeared in other regions, such as the French pratique referenced in Étienne Pasquier's 16th-century writings, used by buffoons for vocal imitation in performances.^[1] In Spain, the lengüeta served a parallel function among puppeteers from the 17th century onward. These developments laid the groundwork for the swazzle's refinement in British Punch shows, where it became indispensable for the character's signature squeak.^[1]

Development in European Puppetry

The swazzle was introduced to British puppetry in the early 18th century as part of the evolving Punch and Judy tradition, imported from Italian commedia dell'arte styles featuring the character Pulcinella, whose rasping voice required a similar vocal device.^[5] By the 1780s, the show had transitioned to glove puppets performed in street booths, standardizing the swazzle's use to produce Mr. Punch's distinctive shrill tone, which became essential for the character's anarchic persona in public performances.^[6] Key milestones in the 19th century include the first documented script of a Punch and Judy show, published in 1828 by scholar John Payne Collier based on observations of Italian puppeteer Giovanni Piccini's London performances, which captured the swazzle's role in delivering the dialogue's chaotic humor.^[5] This publication helped preserve and popularize the technique amid growing street entertainment. During the Victorian era, swazzle-equipped Punch shows thrived in urban streets and seaside resorts, bolstered by expanded holidays and railways, with as many as 25 performances occurring at events such as Queen Victoria's 1887 Jubilee in London's Hyde Park, embedding the device in Britain's cultural fabric.^[6] The swazzle's influence extended through puppeteers who treated its mastery as a guarded craft, with Piccini exemplifying the Italian expertise that trained early British professors in its secretive operation, ensuring the voice's authenticity across generations.^[5] In continental Europe, regional variations adapted the swazzle for local folk characters, such as the French pratique—a reed device of animal skin or wood—used for Polichinelle's shrill voice in traveling shows, as noted in 19th-century accounts of puppeteers like Old Borgniet.^[1] These adaptations spread the device's principles across Europe, influencing itinerant performances into the early 20th century.^[1]

Modern Adaptations

Following World War II, the British Puppet and Model Theatre Guild played a key role in reviving and sustaining traditional puppetry practices, including the use of the swazzle in Punch and Judy performances. Founded in 1925, the Guild saw increased activity under leaders like Percy Press, who became its chair in 1950 and participated in the 1951 Festival of Britain, helping to promote the craft through exhibitions and community events.^[7] The organization continues to foster training opportunities for members, emphasizing hands-on learning in puppet manipulation and voice techniques central to swazzle use.^[8]^[9] In global puppetry, the swazzle has seen adaptations beyond its British roots, with approximately 300 active Punch and Judy professors performing worldwide, incorporating local cultural elements while retaining the device's signature rasping voice for Mr. Punch. In the United States, modern Punch and Judy shows have evolved to suit contemporary audiences, toning down violent aspects—such as Punch's confrontations—while preserving core dynamics like family quarrels and encounters with figures like the crocodile, often performed in educational or festival settings.^[2]^[10] The 21st century has brought democratized access to the swazzle through online DIY resources, moving away from exclusive apprenticeships with seasoned professors. Tutorials demonstrate simple construction using metal strips and a reed-like tape, allowing enthusiasts to practice the technique independently and share variations via video platforms.^[2]^[11] This has enabled broader experimentation in amateur and educational puppetry. The swazzle's harsh, buzzing vocal effect has influenced voice design in modern media puppetry, echoing in raspy character portrayals within stop-motion and hand-puppet animations that draw from traditional glove puppet traditions. Its legacy parallels the development of high-profile productions like the Muppets, where exaggerated, distinctive voices enhance comedic timing and character expression.^[2]

Design and Mechanics

Physical Components

The swazzle consists of a core structure formed by two thin metal strips, typically made of aluminium in modern examples, which are slightly bent and positioned parallel to enclose a central reed element.^[12]^[1] These strips measure approximately 2.6 cm in width, 1.4 cm in depth, and 0.4 cm in height, creating a compact frame that fits ergonomically within the mouth.^[13] The device is typically soaked in water before use to soften the cotton reed.^[12] The reed element is a narrow cotton tape, inserted between the metal strips to enable vibration when air is directed through the device.^[1]^[14] This cotton material, often white, provides the flexible vibrating surface essential to the swazzle's operation. The assembly is secured by a binding mechanism of fine cotton thread, usually black, wrapped tightly around the strips and reed to maintain tension and prevent slippage during use.^[12] Variations in this thread tension allow minor adjustments to the device's pitch, though the overall design prioritizes lightweight construction for comfortable placement behind the teeth without detection.^[12] The components interact acoustically by channeling airflow to vibrate the reed, producing the characteristic rasping tone, but the static materials ensure durability under oral pressures.^[1]

Acoustic Principles

The swazzle generates its characteristic sound through the vibration of a flexible reed actuated by airflow from the performer's mouth. The device features two thin metal strips that enclose a reed, typically composed of cotton tape or fabric, forming a compact frame approximately 2.6 cm in length. When placed between the tongue and the roof of the mouth, exhaled air flows between the metal strips, causing the reed to oscillate freely against the frame. This creates a reedpipe-like effect, where the reed's vibration interrupts the airflow, producing pressure waves analogous to those in free-reed aerophones such as the harmonica. The mechanism resembles that of a duck call, in which directed air vibrates a reed to mimic avian sounds, but adapted for intraoral use to distort human speech.^[1]^[2]^[15]^[16] Resonance plays a crucial role in enhancing the swazzle's output, with the oral cavity acting as an adjustable resonator that amplifies the reed's vibrations. The mouth's natural acoustics couple with the reed's oscillations, boosting higher harmonics and imparting a high-pitched, rasping timbre to the sound. This interaction between the vibrating reed and the vocal tract's resonant modes results in a shrill, buzzing quality distinct from unamplified speech, as the enclosed space intensifies the airflow dynamics without requiring external amplification.^[1]^[2] Pitch and timbre are controlled primarily through modifications to the mouth's shape, which alter the resonant frequencies of the oral cavity and thus the overall spectral content of the reed's vibration. By varying tongue position, jaw opening, or lip configuration, the performer can shift the emphasis on certain harmonics, enabling a spectrum of effects from sharp squeaks to guttural growls and phoneme-distorted speech. This qualitative adjustment of airflow and resonance allows the swazzle to produce intelligible yet altered vocalizations, leveraging the principles of free-reed excitation where blowing pressure and resonator geometry influence vibrational modes.^[2]^[16]

Manufacturing Process

The swazzle is traditionally handcrafted from simple materials, consisting of two strips of metal bound tightly around a cotton tape or fabric reed. The process begins with selecting and cutting the metal strips to the appropriate size, measuring approximately 2.6 cm in length and 1.4 cm in width, followed by shaping them into bowed plates that can fit between the tongue and the roof of the mouth. The reed material, often a strip of cotton tape or cloth, is then placed between the metal strips, and the assembly is secured by wrapping it with string, thread, or fine wire to create the necessary tension for vibration. This binding must be precise, as excessive tightness can lead to reed breakage during use, while insufficient tension results in poor sound quality.^[1]^[14]^[17] Crafting a functional swazzle relies on manual dexterity and is typically learned through apprenticeships within Punch and Judy puppetry traditions, where experienced performers, known as "professors," pass down the techniques to ensure consistency in voice modulation. Basic metalworking tools, such as hacksaws for cutting and files for smoothing edges, are used to prepare the components, emphasizing the device's origins as a closely guarded artisanal secret among puppeteers. Once assembled, the swazzle undergoes quality control by testing its placement in the mouth and blowing air through it to evaluate reed durability and acoustic output, with adjustments made to the binding for optimal performance.^[17]^[18] In modern production, swazzles remain largely handmade for precision, though safer, non-oral variants have emerged using alternative materials like rubber bands stretched between wooden craft sticks and paper wads to simulate the reed effect without mouth insertion. These adaptations prioritize accessibility for beginners while maintaining the core principle of tensioned vibration, and traditional metal versions are still produced individually by specialists for professional use. Quality assurance continues to focus on iterative testing for sound clarity and component longevity, avoiding over-binding to prevent failures during extended performances.^[11]^[2]

Usage in Puppetry

Performance Technique

The swazzle is inserted behind the lower teeth, positioned between the tongue and the roof of the mouth to enable precise control during performance. Puppeteers manipulate it using the tongue and breath to articulate words, while simultaneously operating the glove puppet with one hand—typically placing the thumb and fingers into the puppet's arms and head for movement. This placement allows the device to vibrate against the airflow, producing sound without interfering with basic mouth movements, though it demands constant adjustment to prevent slippage.^[1]^[2] Voice modulation with the swazzle relies on techniques such as varying airflow and tongue pressure to produce a distorted, high-pitched, rasping tone, allowing for partially recognizable phrases like "That's the way to do it!" amid primarily emotive squawks and grunts adapted for the character Punch. Performers emphasize sharp bursts of breath for emphatic squeaks or sustained flows for drawn-out rasps, with an assistant known as the "bottler" often interpreting the sounds for the audience to enhance comprehension. Mastery of these skills ensures the voice remains audible and character-specific, distinguishing Punch's shrill calls from other figures' normal speech, though full intelligibility is limited.^[2]^[14] Training to operate the swazzle follows an apprenticeship model, often within family traditions or mentorships where novices build endurance and prevent accidental swallowing through repetitive practice. Beginners typically receive guidance from experienced "professors," starting with basic vibration exercises to familiarize themselves with the reed's response, progressing to full dialogue delivery while hidden behind the booth. This hands-on approach, sometimes likened to learning to juggle, emphasizes self-taught refinement alongside shared tips from veterans.^[19]^[1] Ergonomic challenges arise from coordinating mouth-based voice control with one-handed puppetry, requiring puppeteers to synchronize breath, articulation, and arm gestures for seamless performances. This dual-tasking strains jaw muscles and demands split focus, often taking years of consistent practice to achieve fluid integration without disrupting the puppet's lively motions.^[19]^[5]

Role in Punch and Judy Shows

In Punch and Judy shows, the swazzle serves as the essential tool for embodying the character of Mr. Punch, producing his signature high-pitched, rasping squawk that defines his anarchic and mischievous persona. Held between the tongue and the roof of the mouth by the puppeteer—known as the "Professor"—the device vibrates to create a shrill, buzzing tone that contrasts sharply with the unaltered, natural voices used for other characters such as Judy, the baby, or the crocodile. This vocal distinction underscores Punch's otherworldly, irreverent nature, making him instantly recognizable and central to the show's chaotic energy.^[1]^[2]^[5] The swazzle's raspy timbre integrates seamlessly into the traditional script, amplifying Punch's defiant humor and comedic violence in key scenarios, such as his gleeful beating of the policeman with a stick while exclaiming "That's the way to do it!" This vocal effect heightens the absurdity and slapstick of the narrative, where Punch's anarchic outbursts drive the plot's cycle of mischief, confrontation, and triumph, often eliciting audience laughter through exaggerated defiance against authority figures like the doctor or the devil. Early documented scripts, such as the 1828 version illustrated by George Cruikshank, highlight how the swazzle's sound reinforces Punch's unapologetic rebellion, turning violent antics into a form of cathartic entertainment.^[5]^[20] Culturally, the swazzle symbolizes folk rebellion in 19th- and 20th-century British street theater, encapsulating Punch's role as a trickster figure derived from Italian commedia dell'arte traditions, where his voice represents a subversive challenge to social norms. The device's closely guarded construction and operation—once a secret passed only among master puppeteers—added to the "magic" of the performance, enhancing the show's mystique as a communal, carnivalesque ritual that poked fun at everyday hierarchies. This secrecy contributed to its enduring place in British cultural heritage, appearing in literature by Charles Dickens and even influencing phrases like "Punch and Judy politics" to denote rowdy debate.^[5]^[2]^[20] While the swazzle's use has declined in sanitized modern adaptations that tone down the violence for contemporary audiences, it persists in heritage performances at festivals and events, such as those organized by the Punch and Judy Fellowship, where traditionalists maintain its authentic rasp to preserve the show's historical vitality. Post-World War II shifts toward overseas holidays reduced seaside performances from a peak of around 44 in 1939, but a revival in the late 20th century has seen increased private bookings and cultural commemorations, ensuring the swazzle's role in authentic renditions.^[20]^[1]

Applications Beyond Traditional Puppetry

The swazzle, or analogous reed-based voice-modifying devices, has found application in educational puppetry, particularly in adaptations that emphasize character differentiation and therapeutic expression. In educational settings, such as school performances and therapeutic theater, the device facilitates voice modulation for storytelling and emotional expression, helping participants explore roles in controlled environments like child development workshops.^[1] Within media and entertainment, analogous reed techniques produce distinctive puppet vocals in various productions.^[4] The swazzle's global export is evident in non-Western traditions, where local adaptations of reed instruments have integrated its principles into diverse puppet festivals and performances. In Indian puppetry, such as Rajasthan's kathputli, swazzle-like devices (known as booli) are used by puppeteers to voice characters in modern shows addressing social issues like family planning and environmental conservation, often performed at educational festivals.^[21] Similarly, in African contexts, Nigerian puppeteers craft swazzles from ostrich eggshells to modify voices in traditional and contemporary spectacles, while in Niger, a single operator employs the device in narrative plays that blend folklore with community outreach at regional festivals.^[22]^[23] These adaptations highlight the swazzle's versatility in cross-cultural experimentation, fostering innovative vocal techniques in non-heritage puppetry.^[1]

Risks and Safety

Common Hazards

The swazzle, a small metal reed device inserted into the mouth for voice modulation in puppetry, presents a primary hazard of accidental swallowing due to its compact size and the need to manipulate it dynamically during performances. Positioned between the tongue and the roof of the mouth, the slippery instrument can easily dislodge, leading to ingestion that risks choking or internal injury if it lodges in the airway or digestive tract.^[13]^[17] This danger is inherent to the device's design and the physical demands of use, with the World Encyclopedia of Puppetry Arts noting that the instrument "can reveal itself to be dangerous."^[1] Among experienced performers, the risk is acknowledged through tradition, where Punch and Judy professors humorously claim proficiency only after swallowing at least two swazzles, highlighting how common the mishap can be even for skilled users.^[24]^[2] Commercial makers emphasize this concern by recommending attachments like cotton threads to retrieve a fallen swazzle, underscoring the potential for serious consequences without such precautions.^[25]

Historical Incidents

One of the earliest documented fatal incidents involving a swazzle-like device occurred in 1866, when French travelling puppeteer Pierre-François Borgniet, founder of a prominent family troupe, accidentally swallowed his pratique—a reed-based voice modulator akin to the English swazzle—during a Polichinelle performance.^[1] He choked to death onstage in his own theatre in Lyon, highlighting the inherent risks of the device's oral placement amid the physical demands of live puppetry.^[1] In Victorian England, puppeteers frequently encountered swallowing mishaps with the swazzle.^[26] These near-fatal episodes often resulted in abrupt performance cancellations, as the puppeteer struggled to recover without medical aid, underscoring the device's precarious handling requirements.^[26] Such incidents were not uncommon among novices, with historical accounts noting that most experienced performers had swallowed the device at least once, though typically without lasting harm; a traditional remedy involved consuming plum pudding to bind and expel it.^[26] These stories, shared through oral tradition and preserved in puppetry lore, served as cautionary tales that reinforced the swazzle's guarded secrecy, limiting its transmission to carefully selected apprentices within family or guild lines to ensure safe mastery.^[26] The cumulative impact of such events deepened the mystique around the device, transforming potential tragedies into markers of authentic expertise in the Punch and Judy tradition.^[2]

Contemporary Safety Measures

In recent years, training for swazzle use has evolved to prioritize safety through structured programs offered by organizations such as the Punch and Judy Fellowship, which provides specialized swazzle tuition focusing on proper technique to reduce risks during performances.^[27] These courses emphasize gradual insertion practice, starting with soaking the device in water and positioning it on the roof of the mouth held by the tongue, allowing performers to build proficiency over days, weeks, or months to minimize the chance of accidental displacement.^[12] Additionally, training incorporates emergency drills based on standard first-aid protocols for choking, such as the Heimlich maneuver, to prepare puppeteers for rapid response if the swazzle becomes lodged.^[28] Modern swazzle designs have incorporated safety enhancements to address historical risks like swallowing, with stainless steel constructions providing durability and reduced sharpness compared to traditional bone or ivory versions.^[29] Some contemporary variants feature rounded edges to lessen tissue irritation and hypoallergenic materials to prevent allergic reactions in users, while innovative models include retrieval cords or external placements to avoid deep insertion altogether.^[11] These improvements aim to maintain the device's acoustic function while prioritizing user safety during extended performances. Medical guidelines for swazzle-related incidents recommend immediate application of the Heimlich maneuver for conscious choking victims to dislodge the object, followed by professional evaluation if unsuccessful.^[28] For cases where the swazzle lodges in the esophagus, endoscopic removal is the standard intervention, ideally within 24 hours to prevent complications like perforation, with routine puppeteer health checks advised to assess throat conditions prior to use.^[30] Puppeteers are encouraged to undergo periodic examinations to ensure vocal health and readiness. Regulatory frameworks for swazzle use in performances integrate into broader puppeteers' health and safety standards, as outlined by professional bodies like Equity's Puppeteers' Network, which mandates breaks, access to physiotherapy, and risk minimization during shows.^[31] Festivals incorporating traditional puppetry, such as Punch and Judy events, require performers to hold liability insurance covering potential injuries, aligning with event safety protocols that include equipment checks and emergency preparedness to protect both artists and audiences.^[32]

References

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The English swazzle is a device made of two strips of metal bound around a cotton tape reed. The device is used to produce the distinctive harsh, rasping voice ...
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Apr 27, 2017 · A swazzle is sort of like a miniature kazoo that is held in your mouth. The name is thought to derive from the German word “schwätzen,” which means “to chatter ...
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### Summary of Punch and Judy History
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The character of Punch was first introduced into England by an Italian puppeteer, Pietro Gimonde, from Bologna (c.1662).<|control11|><|separator|>
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Percy Press I | World Encyclopedia of Puppetry Arts
Percy Press became Chair of the British Puppet and Model Theatre Guild in 1950. In 1951, he featured in the Festival of Britain, having appeared in almost ...<|control11|><|separator|>
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The British Puppet Guild is the oldest puppetry organisation in the world. Whilst we focus on British Puppetry & Model Theatre, we also welcome members joining ...Missing: website | Show results with:website
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Nov 5, 2019 · Punch's wife as a required character in the puppet shows seems to have developed in the 18th century and she was originally known in Britain as ...
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Nov 9, 2020 · Puppeteer Chad Williams reveals puppetry's best-kept secret - how to make your own DIY Swazzle. It's an ancient voice-changing device that ...
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Jul 1, 2009 · Swazzle, aluminium and cotton, used by a Punch and Judy man to create Punch's voice, made by Bob Wade, Rochester, Kent.
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Oct 11, 2015 · A swazzle is a device made of two strips of metal bound around a cotton tape reed. The device is used to produce the distinctive harsh, rasping voice of Punch.
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May 19, 2011 · ... swazzle, which is like a duck call you keep in your mouth.) Punch's violence was knockabout and punctuated by extremely loud slaps, created ...
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Feb 15, 2013 · At a simple level of analysis, the sound production of a free reed is similar to that of a siren. • Hermann von Helmholtz: “The passage for ...
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Dec 18, 2020 · A swazzle is a type of reed, small enough for a performer to hold between the middle of their tongue and the roof of their mouth.Missing: dimensions size
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It was a prime form of puppetry in America from the nine- teenth century until the birth of the “Muppet” in the Post. WWII era. ... most contemporary adaptations.
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### Summary of Swazzle Construction/Manufacturing
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Jan 27, 2021 · The Punch and Judy Show Its history and cultural significance ... Author content. All content in this area was uploaded by Trevor Hill on ...
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... swazzle, which allows them to produce strident cries and comic lamentations. ... ), but have also furnished material for avant-garde companies, and even the ...
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In some genres, puppets speak in their own special language using a reed instrument (see Voice, Swazzle). ... “Visible Puppets and Hidden Puppeteers: Indian ...
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Ostrich egg shell is used to make a kind of swazzle to modify the voice. The ... African theatre of this area. Such figures may sit atop the helmet ...
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A single puppeteer manipulates the characters and speaks using a swazzle ... [Puppets and Masks at the Heart of African Theatre]. Saint-Maur: Institut ...
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Jul 17, 2004 · Incidentally, there are some risks attached to using the swazzle: tradition requires that the performer shall swallow it at least twice ...
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In stockMade from 100% pure silver sheet NOT Stainless Steel! The distinctive voice of Mr Punch is made by using a little device called a Swazzle.Missing: weight grams ergonomics
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Aug 4, 1986 · Among the traditions the college wishes to preserve is the performer's use of a mouth-held instrument, the swazzle, that makes Mr. Punch's voice ...
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Often imitated but never equalled! Specialisms: Talks, Tuition, Swazzle Tuition. Recently featured on 'Sea Cities' (BBC TV) and 'Michael ...Missing: training | Show results with:training
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Punch and Judy - Stainless Steel Swazzle NEW | #432226294
The SWAZZLE is the "Magic Thing" that gives the sound ... Punch and Judy - Stainless Steel Swazzle NEW ... SAFETY INSTUCTIONS.NOT SOLD TO ANYONE UNDER 16.
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Rating 5.0 (42) K&K's Performer program offers liability insurance for solo musicians and entertainers performing at fairs, festivals, bars, private parties, and other events ...Missing: safety standards<|control11|><|separator|>