Puppet arms are designed to hang naturally, so if you don't use them they still look ok.
That allows beginning puppeteers to focus on developing the basics.
Once you have the basics down, adding motions helps make your puppet appear even more lifelike, if done properly.
The normal tendency when starting to use the arm rods is to go overboard and use them too much or make a motion and leave the arm hanging out for the rest of the play.
At that point they become more of a distraction than a help.
The goal in making arm motions is to make the puppet appear lifelike so you can add quality to the play.
The key to make that happen is moderation.
If you're constantly using the arms during the play just for effect, it can become a distraction as people focus on your puppet and miss some of the dialogue.
But when you use a few pre-planned and well-practiced motions it adds to the quality.
The motions reinforce what's being said and make the puppet appear lifelike.
You can still add in a couple of unplanned motions if they will benefit the play, but again, don't go overboard.
To develop the pre-planned motions, start with your script.
Read through it without a puppet on and think about the motions you would do if this was real life.
If someone is directing attention to a specific object or place, they often point and look in that direction.
Your puppet should do the same motions.
When someone is thinking, they may rub their chin or scratch their head.
When someone laughs loudly, they may hold their stomach and lean back while laughing while another may lean forward.
When adults meet one another, they often shake hands; yet in the hundreds of plays I've seen, I can't remember one time seeing two puppets shake hands.
In fact, I don't think I've ever done it myself.
It would be interesting to see though.
When you find a place in the script for an appropriate motion, make a note of it.
You could write the letter G for gesture or M for motion and circle it or draw a little hand over the part as a reminder that here is a place for a pre-planned motion.
From there, it's on to practice.
You may want to plan 5-10 minutes each practice time to focus on arm motions and movement.
Bring the puppets onstage and call out various movements.
Train the puppeteers to pick up the arm, make the movement, and then drop the arm back down.
Don't allow them to get into the habit of leaving the arm out for an extended period of time.
Use this time to focus on motions you know are in the plays you perform and practice them until they become second nature.
When you work on a play with the motion cues written on them, the puppeteers can easily do the motion without having to put in a lot of thought.
If they have to think about the motion and say the line at the same time, it probably won't flow in a smooth manner.
Once your team follows this pattern long enough, the motions and gestures will be realistic and the puppeteers will begin to naturally place them in the spots.
It may seem a bit stiff and formal to begin with, but will produce great results when done consistently and well.
Then the motions and gestures will reinforce what the puppet is saying rather than detract from it.
That allows beginning puppeteers to focus on developing the basics.
Once you have the basics down, adding motions helps make your puppet appear even more lifelike, if done properly.
The normal tendency when starting to use the arm rods is to go overboard and use them too much or make a motion and leave the arm hanging out for the rest of the play.
At that point they become more of a distraction than a help.
The goal in making arm motions is to make the puppet appear lifelike so you can add quality to the play.
The key to make that happen is moderation.
If you're constantly using the arms during the play just for effect, it can become a distraction as people focus on your puppet and miss some of the dialogue.
But when you use a few pre-planned and well-practiced motions it adds to the quality.
The motions reinforce what's being said and make the puppet appear lifelike.
You can still add in a couple of unplanned motions if they will benefit the play, but again, don't go overboard.
To develop the pre-planned motions, start with your script.
Read through it without a puppet on and think about the motions you would do if this was real life.
If someone is directing attention to a specific object or place, they often point and look in that direction.
Your puppet should do the same motions.
When someone is thinking, they may rub their chin or scratch their head.
When someone laughs loudly, they may hold their stomach and lean back while laughing while another may lean forward.
When adults meet one another, they often shake hands; yet in the hundreds of plays I've seen, I can't remember one time seeing two puppets shake hands.
In fact, I don't think I've ever done it myself.
It would be interesting to see though.
When you find a place in the script for an appropriate motion, make a note of it.
You could write the letter G for gesture or M for motion and circle it or draw a little hand over the part as a reminder that here is a place for a pre-planned motion.
From there, it's on to practice.
You may want to plan 5-10 minutes each practice time to focus on arm motions and movement.
Bring the puppets onstage and call out various movements.
Train the puppeteers to pick up the arm, make the movement, and then drop the arm back down.
Don't allow them to get into the habit of leaving the arm out for an extended period of time.
Use this time to focus on motions you know are in the plays you perform and practice them until they become second nature.
When you work on a play with the motion cues written on them, the puppeteers can easily do the motion without having to put in a lot of thought.
If they have to think about the motion and say the line at the same time, it probably won't flow in a smooth manner.
Once your team follows this pattern long enough, the motions and gestures will be realistic and the puppeteers will begin to naturally place them in the spots.
It may seem a bit stiff and formal to begin with, but will produce great results when done consistently and well.
Then the motions and gestures will reinforce what the puppet is saying rather than detract from it.