Int2Puppetry-art

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Int2Puppetry-art - 1/29/18

"Introduction to puppetry" by Lady Nidda Ridarelli.

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Thank you,

Mark S. Harris...AKA:..Stefan li Rous

stefan at florilegium.org

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Introduction to puppetry

by Lady Nidda Ridarelli

A puppet is defined as an inanimate figure that is made to move by human effort before an audience (Baird 13). Marionettes have been in existence for thousands of years. Early jointed "dolls" have been found in Egypt and India made out of terra cotta, wool, ivory and even bone. Most period marionettes were made out of wood and had "invisible" strings or wires. In ancient times they were used in religious rites and ceremonies. In India puppetry may have been practiced before human actors because impersonation was forbidden due to religious taboo (Currell 8). In Greece and Rome wandering shows and private performances in homes were very common. The subject mater was bold, satirical and parodied popular drama (Joseph 21).

Historical written examples of puppetry

Puppets are known to exist as early as 3000 BC. They existed in Egypt, China, India, Greece and Rome. There are extant examples that have survived to this day. It is lucky that we have any examples at all. After the fall of Rome puppets seem to disappear until about the 7th-9th centuries (Currell 65). One possible reason is that religious radicals destroyed everything that had the appearance of an idol; puppets, made to look like humans, certainly fit the description. Their later resurgence in the Church is contributed to church leaders seeing how easily visual representations (Jesus, Mary, disciples) as opposed to abstract symbolism (Lamb of God, trinity) appealed to the masses (Joseph 22).

Marionettes in period were performers. They are sometimes called motions in England, fantoccini in Italy, Puppen in Germany, and titeres in Spain. They brought biblical instruction and entertainment to rural areas (McIsaac 20). Their popularity grew and the stories they told became more bawdy and secular rather than sacred. Then they were denounced by the church and kicked out yet never lost popularity with the populace. They would perform great works of art and were full of action and music. Puppet repertoire is all inclusive (Joseph 59) and always reflects the tastes of the people in the land in which they perform. They were also used for satire and were the first impressionists (one who does impressions of famous people). Traveling puppet players would perform anything of interest and popularity to the populace. They performed in fairs and in theaters. Many puppet troupes played at private parties in wealthy residences (Joseph 56).

China

In China marionettes were in use by the eighth century AD. The Burmese puppet theatre had a significant influence on the development of human dance drama, and a dancers skill is still judged on his or her ability to re-create the movements of a marionette (Currell 8)

England

"Puppet shows were the most ancient amusement in [England]" (Warton. Archeological Journal 199). By the fourteenth century puppets were certainly known (Currell 8). In the sixteenth century wooden actors controlled by wires were a novelty that attracted the populace. Puppet shows appeared at great fairs especially in the vicinity of large cities. Their popularity rivaled that of the classic theater(Hone 164-165). In the early seventeenth century puppet showmen or motion-men carried their light stages from one English parish to another performing plays of a biblical origin. They occasionally performed Robin Hood but not the Robin Hood of today*. These showmen carried their instruction and entertainment into the rural communities as well (McIsaac 20). In 1642 Puritans closed theaters save those devoted to marionette performances. This drew Italian and French puppet showmen to England. They had all the current drama and writers at their disposal (mcIsaac 20).

Germany

In the eleventh century carving wooden figures was an accomplishment for many of the villages. By the fourteen hundreds Puppenspiel had the favor of the people of Germany. There was an Alpine charm to the plays and they were fraught with heavy humor and gruesome suggestion, much like the children's stories of the Brother's Grimm (Urban 582). This was unique to Germany as were the marionettes with hideous faces and blood curdling jests and jack-pudding fun (Urban 583). They were often as scary as they were silly. In the twelve and thirteen hundreds there were mostly bible themed stories, Adam and Eve and David and Goliath, etc. By the thirteen and fourteen hundreds more romantic stories come in: Joan of Arc and Genevieve of Brabante (Joseph 114). During the seventeenth century, the preachings and denunciations of Martin Luther put an end to dramatic church ceremonies, that had been frequently performed by actors. It went so far that actors could no longer receive sacrament in some churches. Disbanded troupe members came to read for marionettes (Joseph 123). After the 30 Years War Puppet showmen came to Germany from England, France, Holland, Italy and Spain. To add attractions to the puppet shows, they included jugglers, dancers, and trained bears. Marionettes and puppet showmen lived very happily in Germany until 1731 when the censorship of the theater sent audiences to the puppet theater, which then became a target of censure.

Italy

Italy is thought to be the source of the puppet epidemic that spread through Europe in the middle ages (McIsaac 19). Their repertory started with marionette performances of bible stories like in other countries. Then the performances moved to fables, comedy and tales of chivalry and satires of Roman decadence. They were often impressionistic of local celebrities, and were elaborately dressed "burlesquing local types."(Joseph 56) The marionette performances expressed public opinion and there were many grades of performances, from the box of ugly puppets on the roadside to grand theater performances with beautifully-wrought costumed and manipulated figures. Their audiences included people of all ranks (Urban 581). Every village was visited by ambulant shows, every city had its large castle, and noble families had their private puppet theatres and engaged distinguished writers to compose plays (Joseph 56). Marionettes were the highest class of actor. People turned to the puppet show for criticism on political and social matters (Urban 579). Through various stages of Italian drama the marionettes have trailed happily along picking up and retaining all the styles in their repertoire (Joseph 59). Also like in England and Germany, the marionettes served as a shelter for actors when Italy's commedia dell'arte became discredited (Jopseph59).

France

In 1443 the church of St. James at Dieppe performed the "Mysteries of Mid-August" entirely with marionettes and moving statuary (Baird 64). In Paris, the people reveled in witty epigrams and social sarcasms (Urban 580-581). Ballet performances by marionettes were also very popular.

Spain

In Spain, Marionettes lived free from government interference. They had many popular performances including mini-bull fighting. Other puppet performances included legends, traditions and ballads as their staple material (Urban 581-582).

*The Robin Hood they would have performed had all the same villains and supporting characters, i.e., Friar Tuck, Merry Men, Sheriff of Nottingham, Will Scarlet, and Little John, but the Maid Marion character did not come in until much later.

Bibliography

Baird, Bil. The Art of the Puppet. A Ridge Press Book, Macmillan Company, New York, 1965

Banham, Martin. The Cambridge Guide to Theatre. Cambridge University Press, 1995

Currell, David. Puppets and Puppet Theatre. Crowood Press Ltd., Ramsbury, Marlborough, 1999

Fling, Helen. Marionettes-How to Make and Work Them. Dover Publication, Inc., New York, 1973

Joseph, Helen Haimen. A Book of Marionettes. B. W. Huebsch, New York, 1920

Hone, William. The Sports and Pastimes of the People of England. William Tegg, London, 1867

Lowell, James Russell. The Bookman: an Illustrated Magazine of Literature and Life. Volume XL September 1914-February 1915. Dodd, Mead and Company, New York

Macritchie, David. Scottish Gypsies Under the Stewarts. David Douglas, Edinburgh, 1894

Matthews, Brander. A Book About the Theater. Charles Scribner's Sons, New York, 1916

McIsaac, P.J.. The Tony Sarg Marionette Book. B.W. Huebsch, New York, 1921

Nelson, Victoria. The Secret Life of Puppets. Harvard University Press, 2001

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Copyright 2017 by Danni Thorniley. <Dannidda at gmail.com>. Permission is granted for republication in SCA-related publications, provided the author is credited. Addresses change, but a reasonable attempt should be made to ensure that the author is notified of the publication and if possible receives a copy.

If this article is reprinted in a publication, please place a notice in the publication that you found this article in the Florilegium. I would also appreciate an email to myself, so that I can track which articles are being reprinted. Thanks. -Stefan.