‘Training in touching’ aims to refine the knowledge and experience of ‘touching’ in its specific application to puppet-things in motion by those who move them. It opens up unusual concepts such as virtual touch in the spectator, therefore contributing to a practical and theoretical understanding of the lived experience of the ‘puppetry ensemble’, puppeteer-puppet-spectator. An acutely perceptive haptic sensibility distinguishes puppetry from all other forms of performance. Contrary to the idea that puppeteers only use their hands to animate, ‘touch’ is a whole-body sense exemplified in the strange, paradoxical, dance-like phenomenon of the beautiful and rare Japanese otome bunraku or ‘maiden’s puppet-theatre’. Any marginalisation of female artist antecedents of otome bunraku tainted by their three centuries in the pleasure districts of Edo, was superseded in 1925 by technical and theoretical inventiveness enabling one young girl to perform one heavy, fully articulated puppet: head, legs, arms, neck and back. It was similar in appearance to the famous and more familiar Japanese bunraku operated by not one but three men in, possibly, unhealthily close proximity to each other. Currently, dangers in health implicit in the touch and breath of COVID 19 might be averted by adopting a one puppet to one puppeteer style of performance.

“触摸训练”旨在提炼“触摸”的知识和经验，具体应用于移动木偶物体的人。它开辟了不寻常的概念，例如观众的虚拟触摸，因此有助于对“木偶剧团”（木偶师-木偶-观众）的生活体验进行实践和理论理解。敏锐的触觉使木偶戏有别于所有其他形式的表演。与木偶师只用双手来制作动画的想法相反，“触摸”是一种全身感觉，这在美丽而罕见的日本乙女文乐或“少女木偶剧”的奇怪、矛盾、类似舞蹈的现象中得到了体现。女性艺术家乙女文乐前身的任何边缘化都受到江户享乐区三个世纪的玷污，1925 年，它被技术和理论的创造性所取代，使一名年轻女孩能够表演一个沉重的、完全铰接的木偶：头、腿、手臂、脖子和背部。它的外观与著名的、更为人们所熟悉的日本文乐相似，不是由一个人而是由三个人经营，而且彼此之间的距离可能非常接近，不利于健康。目前，通过采用一对一的表演方式，可以避免 COVID 19 的触摸和呼吸所隐含的健康危险。