This article explores the connections between puppetry performance practice and the activation of empathy, considering the synergies between puppetry and medical practice where empathy is a key factor in healing. I draw on a consideration of the place of puppetry within ritual transitional and healing practices to develop an examination of contemporary modes of performance, which require deep listening, response and attention. I examine the connections between neuroscience and puppetry, which suggest that attitude-taking engenders empathy, and compare this to my puppetry training practice to suggest that training for and engaging in puppetry practice can encourage and stimulate empathy. This has significance for practitioners of puppetry working in healthcare contexts and for medical practitioners who undertake some form of puppetry, either within their training or as continuing professional development. Although the different forms of empathy are connected in practice, the article focuses especially on affective (emotional), cognitive and social empathy.

O que pode ser dito de forma útil sobre tradição e inovação? Este artigo questiona se esses termos são realmente os mais úteis para configurá-los como abordagens opostas.Palavras-chave: Teatro de animação tradicional; aprendizado com performances tradicionais; tradição um portal para a inovação

Premises and paradoxesLittle has been written in English about training for the puppeteer, and that which has been written focuses predominantly on understanding the nature of the puppet, not that of the puppeteer; or concentrates on exercises and techniques. The pioneering twentieth-century Russian director Sergei Obraztsov suggested experimenting with the qualities of 'puppet-ness' (in contrast to the puppet as imitator of the human). (Obraztsov 1938: 78) The Swedish puppeteer and director Michael Meschke elaborated a 'grammar' for puppetry action, through dividing and classifying types of training techniques. These included exercises such as the dead point, which he referred to as the state of concentration necessary in order to initiate clearly defined action, achieved through four clear steps: emptying the mind; abstracting the thought; focusing on the immediate task; initiating the task with passion (Meschke 1988: 54); he also analysed different categories of looks and leans, extensions, counterbalance, rhythmic and balance exercises and patterns of speed and focus engineered to develop the dynamic potential of the puppet. (Meschke 1988: 48 --68) Puppetry training, however, clearly goes beyond technical exercises (although these are very useful), and can be considered as a deep approach that seeks to understand the basic essence of the art of the puppeteer and their approach towards the animated object.

and the Cork puppetry festival and was led by Emma Fisher and Cariad Astles. We have written about the choice of title for this symposium, and subsequent symposia, in the editorial to this journal volume. Broken Puppet 1 was the first international meeting of academics and practitioners working specifically on the relationships between puppetry, healthcare, wellbeing and disability, and has led to further collaborations, research enquiries and, ultimately, to this publication itself. Being the first of its nature, the symposium attracted considerable international attention, hosting talks, performances and presentations from people from the following countries: Ireland, the UK,