Bread and Puppet is one of the longest-running non-profit making, self-supporting theatre companies in the USA, remarkable for its large-scale work produced with volunteers. It grew from the weekly puppet shows given in the early 1960s in a loft in New York’s Lower East Side, by the recent emigrants from Germany Peter Schumann and his wife Elka. Born in Silesia in 1934, Schumann became a refugee in Schleswig-Holstein with his family, where their life involved making sourdough rye bread baked in a communal bakery. As a child Schumann and his brothers and sisters also created puppet shows for any occasion.

Originally called the Moosach Puppet Theatre and People Puppet Theatre, the Schumanns took their show on the road in a trailer converted as a mobile puppet theatre, staging impromptu performances in New England. Back in New York City in 1963 the Schumanns converted the Delancey Street loft into a theatre and puppet museum where Bread and Puppet Theatre gained its name, referencing Schumann’s custom of sharing with his audience members sourdough bread baked by him. The company’s early work in New York City ranged from children’s puppet shows to the large-scale outdoor pageants and street shows of 1964, 1965 and 1966 in the poorest areas of the city addressing urban, political and social issues, and protesting about the war in Vietnam, using massive moving sculptures or twenty-foot tall puppets. Their 1968 anti-Vietnam war show Fire led to performances abroad, at a festival in France in 1968, and in June 1969 at London’s Royal Court Theatre.

The Schumanns moved to Plainfield, Vermont in 1970 where Goddard College offered them a theatre residency. They started performing in a field at Cate Farm on the Goddard campus where their first summer show Our Domestic Resurrection Circus: ‘like a history of America, ending in Vietnam’ - embraced carnival and circus and featured the enormous puppets that characterised their work. In 1975 they moved to Glover, Vermont, where the landscape provided them with a natural amphitheatre in an old gravel pit allowing them to perform large scale outdoor productions without amplification.

Their vast and moving spectacles resulted in huge crowds gathering annually, but after 1998 the Circus was succeeded by a summer programme and touring productions addressing issues of the day, still featuring their astonishing and moving sculptural creations.

The Story of One Who Set Out To Study Fear was a version of a German fairy tale collected by the Brothers Grimm about a boy who wanted to learn how to shudder and ended up being made aware of his own mortality. It was first published in 1812 as Märchen von einem, der auszog das Fürchten zu lernen or The Story of the Youth Who Went Forth to Study Fear. Bread and Puppet's version ended with a stage filled with giant ears and the warning: 'He who has ears let him hear'. The critic of The New York Times, 2 February 1982, noted: 'What makes the evening pertinent as well as palatable is the style of storytelling, which combines the classic simplicity of ancient oral traditions with the free play of performance art, blending mime, music and puppetry. The troupe's puppets - boulderlike heads worn as masks and spindly ghosts on stilts - are themselves an awesome parade of iconographic figures.'