>>13450874>>13448742With the increase and popularity of interactive puppe theatre in the western world, two schools of thought came into being as to manage the performance.
First being the orthodox school from the land of the rising sun where the performance waw invented, the Oriental school. The other being a revised version of the Oriental school made to adapt with the cultural differences of the west, the Occidental school.
The Oriental school of performance dedicated themselves into the roleplaying of their marionette characters. The performers behind the stage vowed to absolute secrecy as to who their real identity are. Opting to wear masks and even puppeteer proxies while they perform ventriloquism elsewhere. The school follows a top-down doctrine where the performers are expected to follow the rules of the management and swear fealty to the arts and its characters.
The Occidental school maintained some of the core tenets of the Oriental school but disvowed some of its practices. Performers are not forced to vow to become the characters they perform, alowing some degree of their personal identity to be shown on stage. A much more casual performer can opt to perform without the need to hide their identity, turning the marionettes into a medium instead of a dedicated roleplaying platform. The school uses a bottom-up management where the performers are given the freedom to dictate the direction of their performances while still adhering to the core principles of the guilds they employ at. While such a school were praised by critics for being a mediation between eastern and western culture, the followers and audience of the orthodox school accuse the Occidentalists of being revisionists who desecrate the main objective of this performance art.
