Marionettes or Puppets

MARIONETTES or PUPPETS, jointed figures which, by various devices. are made to move in mimicry of persons or ani mals—usually for dramatic performances. The closely related shadows are flat cutout figures which are exhibited in silhouette against a lighted screen.

The following are commonly accepted methods of producing and operating the simpler types of string marionettes, hand pup pets and shadow figures.

Hand Puppets

can be of wood, plaster, plastic wood, papier mache or stuffed cloth. Head and neck are in one piece with a hole running up the neck for the first finger of the operator (fig.

1). The arms consist of cylin- • drical cuffs (cardboard strength ened with cloth) which are glued or tacked to wooden hands. The operator's second finger and thumb fit, each, into a cuff. A small stuffed bag is suspended by tapes from a ridge at the base of the neck. Grasping this bag in the palm with the two last fingers gives a firmer control. The cuffs also are attached to the bag with tapes.

This framework of the hand puppet is then concealed—the head by a mask and wig (unless the face and hair are already carved and painted on), the rest by clothing firmly attached to the ledge at the base of the neck (fig. 2). If desired, legs and feet can be attached.

To operate, put the doll on the hand like a glove, always keeping the forearm upright so that the puppet will stand straight. Arm and head movements are made with the fingers. The stage has no floor ; a curtain or a three-sided screen with an opening for the proscenium arch is required. The little roll or draw curtain is suspended from a frame-work or from wooden strips across the top of the screen. Painted or dyed scenery behind the dolls is similarly suspended. Puppets must be held high so that the operator's head is invisible. A ledge along the base of the pros cenium arch offers a place on which to rest "properties." The stage lighting (floods or strips) should shine upon the puppets' faces, as well as upon the scenery. Humorous, lively plays are best for this grotesque, intimate type of puppet-show.

String Marionettes are made of the same materials as hand puppets. If the head is of plaster or stuffed cloth there should be a wire from ear to ear with a loop at either end, and another wire, twisted on to this, running down through the neck with a loop at the end (fig. 3). If the bead is of wood, screw eyes at sides and at bottom of neck are used. The torso can be one piece; but separate shoulders (fig. 4), and hip pieces of wood with a centre section of loosely stuffed cloth give flexibility to the body. Limbs can be wood, loosely jointed or a wire skeleton pad ded, or firmly stuffed cloth. The joints must be flexible : brass hinges, double screw eyes, leather or cloth straps or carved wooden joints. Hands can be of wood, plaster or of wire wound about with narrow tape. If the doll is of stuffed cloth the feet, lower arms and hips should be weighted with lead (fig. 5). Faces

and hands should be painted, like theatrical "make-up," to carry at a distance—with either oil or water paints. When dressing the doll freedom must be allowed for movement of neck, elbow, shoulder, etc.

The marionette is suspended by strings from a controller held in the hand of an operator above. This controller (fig. 6) can be a flat strip of wood about io in. long with a shorter cross-bar. A leather strip tacked to the cross-bar slips over the back of the operator's hand. The head strings are tied (from the loops at ears) to ends of cross-bar and hold the weight of the doll. The hand strings are attached to the front end of the controller. The back string from the back waist-line of doll, is attached to the rear end of controller. A separate bar is generally used for the foot controller, and a hole in the centre of this bar allows it to be hung up, when not in use, upon a peg at front of main controller. The strings are attached at the knee, not foot, of the doll. Shoulder strings or extra strings for special di/r gestures can always be added. Practice is required for operat ing a string doll smoothly. To turn or bend the head, tip the Sr," controller sidewise (or pull on the shoulder strings). To seat or bow the doll, tip the controller \If forward and pull on the back string. To walk the doll take the foot control in free hand and tilt it from side to side, moving the doll along with main controller at desired speed.

A marionette stage is a minia ture replica of any stage except that the wings are left open to allow passage of dolls, strings and controllers. Operators stand on a platform directly behind and higher than the puppet stage. A strong rail, waist high, in front of this "bridge" supports the weight of the operators, leaning against it. A rail at the back of the bridge is used to hang dolls Fig. 6 upon. The bridge, and the wings and the space below the puppet stage are concealed from the audience, usually by draperies. Behind these a framework forms the proscenium arch and supports the little curtain, also the front lights of the stage. Lighting and scenery must be planned not to catch the marionette's strings.

Shadow Plays.

Somewhat like hand puppets, shadow-plays are usually worked from below, at an opening in a screen or cur tain ; but this opening is covered with white cloth, drawn tight. The figures are cut in silhouette out of cardboard or tin and at tached to slender staves by which they are held and moved, directly behind or in front of the cloth (fig. 7). Movable arms or jaws can be cut out separately, joined on with brass clips and moved from below by wires or threads concealed behind the figure.

Faces must be in profile. A light from be hind throws the shadows plainly into view.

, Some suggestion of scenery can be painted a upon the cloth or hung close against it.

(See DOLLS; PANTOMIME; MASKS; THEA • Fig. 7TRE.)