A Book of Marionettes

Index

Ache, d’, Caran, designs silhouettes for Chat Noir, 98–99.
Actors, used with marionettes, in Italian church festivals, 51;
in medieval French churches, 82;
in Germany in seventeenth century, 123–125.
Aiken, Vivian, 183.
Alice in Wonderland, in Chicago, 178.
America, marionettes in, 163–191.
American Indians, use of articulated images in ceremonials, 164–170.
Ames, Winthrop, interest in marionettes, 184–185.
Ananda, annual performance in temple, 30.
Anatole, M., founder of the Vrai Guignol, 107–108.
Antinoë, excavation of marionette theatre in, 16–17.
Antiquity of puppets, 15.
Antwerp, underground theatre in, 141–142.
Apotheosis of Bacchus, representative Greek show, 19.
Apuleius, quoted on Greek puppets, 18.
Ariosto’s Orlando Furioso in Sicily, 71–76.
Aristophanes’ The Birds in puppet performance, 105.
Arlecchino, Italian puppet character, 22, 57.
Baden-Baden, puppet show of Ivo Pühony, 134.
Bali, Wayang plays in, 28.
Belgium, puppets in, 140–142.
Bergerac, Cyrano de, duel with ape, 84.
Berlin, production of Doctor Sassafras and Two Dancing Chinamen, 134–135.
Bertrand, French showman, 86–87.
Birds of Aristophanes produced, 105.
Black, John, 182.
Blei, Franz, quoted on shadow play in Munich, 132;
on types of plays for puppets, 210–211.
Bohemia, puppet plays in, 136.
Boinet, Paul, operator on La France, 109.
Bologna, theatres in, 69.
Bonifrates, definition, 80.
Boswell, quoted, 154.
Bouchor, Maurice, presents Noël ou le Mystère de la Nativité, 110–111.
Brann, Paul, founder of theatre in Munich, 130.
Briocci. See Brioché.
Brioché, Giovanni and Francesco, famous 17th century showmen, 84–86.
Broemel, Carl, 183.
Browne, Mrs. Maurice, founder of Chicago Little Theatre, 173–178.
Buelens, Pieter, Belgian showman, 141.
Buffano, Remo, 171.
Bulley, Margaret, 157.
Burattini, description, 54;
derivation of name, 55.
Burma, development of puppet stage, 29–30.
Caine, W., quoted on Paris Guignols, 197–198.
Calthrop, A., on modern Venetian show, 68.
Cardboard plays, 192–194.
Cascio, Salvatore, 172.
Cassandrino, Italian puppet character, 58, 60.
Catacombs, jointed images in tombs, 22.
Catania, religious plays in, 77–78.
Cecca, mediæval Italian mechanician, 51–52.
Central Asia, two types of puppets, 30.
Ceylon, early religious puppets, 33.
Chambers, E. K., quoted on use of puppets in churches, 53.
Champs Élysées, home of the Vrai Guignol, 107–108;
performances, 197–198.
Character types. See Types.
Charles V of Spain, 78.
Chat Noir, home of Ombres Françaises, 98–100.
Chicago Little Theatre, successful performances in, 173–178.
Children’s productions, 192–194.
Chopin, life enacted by Cleveland puppets, 182.
Christmas plays. See Religious plays.
Church festivals, in Italy, 51–52. See also Passion play; Religious plays.
Cibber, Colley, writes for marionettes, 153.
Cleveland, Italian performance in, 172;
Playhouse, puppet productions, 178–183;
performance of The Rose and the Ring, 200–201;
construction of dolls, 221–224.
Clisby, George, 179.
Cologne, home of Kölner Hanneschen Theatre, 128.
Comic element in puppets, 203–205.
Commedia dell’Arte, influence on Italian marionettes, 57–59.
Constantine, Italian puppet character, 58.
Construction of marionettes, 221–224. See also Materials; Mechanism.
Construction of marionette stage (O’Neil), 226–229.
Craig, Gordon, experiments with puppets, 160–163;
Game of Marionettes, 192;
on educational importance of puppets, 202;
on actor and marionette, 208–209;
on future of puppet plays, 214.
Crawley, London showman, 153.
Cruikshank, pictures of Punch and Judy, 149.
Cuccoli, Filippo, 69.
Curtis, Elnora Whitman, on educational value of puppets, 201–202.
Dalang, definition, 27.
Dame aux Camellias (La), parody on by George Sand, 94.
Death of Tintagiles, production in Cleveland, 179–180;
rehearsal of, 218–221.
Deaves, Harry, retired American marionettist, 171.
Deluded Dragon, produced at Chicago Little Theatre, 174–175.
Denmark, puppets in literature, 140.
Dickens, Charles, quoted on puppet shows in Genoa, 63–66.
Dickson (pseud.), operator-magician, 101.
Dieppe, annual Mystery of the Assumption, 82–83.
Docha, definition, 113.
Doctor Sassafras, artistic production in Berlin, 134–135.
Dolls, mechanical, in vaudeville, 170–171.
Domèvre, The Seven Chasseurs of, 111–112.
Don Quixote and the puppets, 79.
Dorothea, popular puppet character of Hamburg, 115.
Drama, poetic, difficulties of production, 190–191. See also Plays.
Drama, varied repertory of Italian marionettes, 59–62;
classic, given at Le Petit Théâtre de M. Henri Signoret, 102–105.
Duranty, Charles, attempt to uplift Guignol, 108.
Edgerton, Mrs. Seymour, 174.
Educational value of puppets, 195, 201–202, 213–214.
Egypt, possible birthplace of marionettes, 16.
Ehlert, Ernest, gives shows in Berlin with Pühony’s puppets, 134–135;
on Pühony’s marionettes, 206.
Elizabethan period, popularity of puppets, 150–154.
England, puppets in, 143–163;
toy theatres in, 193–194.
English literature full of allusions to puppets, 143–144.
Epopée, produced at Chat Noir, 99.
Erotikon Theatron de la rue de la Santé, sketch of, 94–96.
Eudel, Paul, first publishes shadow plays, 98.
Excavations reveal ancient puppets, 16–17.
Fairy plays, in the Ombres Chinoises at Versailles, 97–98;
in the Vrai Guignol, 108;
in Munich, 129;
at Chicago Little Theatre, 174–178;
produced by Tony Sarg, 186–187, 189;
specially suited to puppets, 212.
Fantoccini, description, 54;
derivation of name, 55.
Fashion puppet, Lady Jane, 152.
Faust, history of character, 116–122.
Ferrigni, P., on introduction of figures into Christian churches, 23. See also Yorick.
Fewkes, Dr. Jesse Walter, quoted on Indian ceremonial drama, 164–170.
Fiano Theatre, Rome, 60–61.
Figurini, derivation of name, 55.
Flögel, quoted on English masques, 145–146;
preference for grotesque comedy, 203.
France, Anatole, writes on the Chat Noir, 98;
quoted on Le Petit Théâtre de M. Henri Signoret, 103–105.
France, puppets in, 81–112.
Francisque, French showman introducing opéra comique, 88–89.
French writers and musicians, show interest in puppets, 89–96.
Fun in puppet-playing, 216–218.
Gautier, Théophile, on Turkish puppets, 37.
Gayet, A., on puppet theatre excavated at Antinoë, 16–17.
Gehring, Albert, 182.
Geisselbrecht, Viennese showman, 121.
Genoa, elaborate productions in, 62–66.
Germany, puppet shows in, 113–136;
toy theatres in, 194–196.
Gidayu, definition, 46.
Gidayu, Takemoto, 16th century showman, 47–48.
Glasheimer, Adolf, Berlin showman, 126.
Gleason, Arthur, describes Italian show in New York, 172–173.
Goethe, interest in puppets, 122;
maxim on stagecraft, 161;
quoted on his introduction to puppets, 195–196.
Golden age of marionettes, 89.
Goldoni, interest in puppets, 197.
Goldsmith, Oliver, at marionette show, 154.
Grasso, Maria, 172.
Greece, articulated idols in, 17;
development of puppetry in, 18–21.
“Green monster” of George Sand, 93.
Grotesqueness in puppets, 203.
Guignol, originated in Lyons, 107;
in Paris, 107–108;
on steamship La France, 109;
performances in Paris, 197–198.
Gyp, presents Tout à l’égout, 110.
Hamburg, long popularity of puppets in, 115–116.
Hanswurst, German puppet buffoon, 114.
Hauptundstaatsactionen, description of, 124–125.
Haydn, Joseph, composes music for marionettes, 127.
Hazlitt, William, on Punch and Judy shows, 212–213.
Hembauf, George, Belgian showman, 140.
Heron of Alexandria, on early Greek puppet mechanism, 19.
Hewelt, John (pseud.), operator-magician, 101.
Holden, Thomas, operator-magician, 101;
marionettes, 156.
Holland, puppets in, 140.
Hopi Indians, Great Serpent drama, 165–170.
Humor in puppet plays, 203–205.
Hungary, gypsy puppeteers, 136.
Idols, animated, in Egypt, 16;
in Greece, 18;
in Rome, 21;
of ancient Gauls, 81.
See also Images; Religious puppets; Statues.
Ilkely Players, amateur English marionettists, 157.
Images, jointed, found in Catacombs, 22;
religious, in Italy, 51–54;
articulated, used in mediæval French churches, 81–82;
in English churches, 145;
articulated, used by American Indians, 164–170.
See also Idols; Religious puppets; Statues.
India, antiquity of puppets, 15;
development of puppets in, 32–35.
Israeli, d’, Isaac, writes of Punch, 146–147.
Italy, evolution of puppetry, 22;
its development, 50–78;
Goldoni’s interest in puppets, 197;
puppets beloved by children, 199–200.
Japan, origin and development of puppet shows, 43–49.
Java, shadow-plays, 24–28.
Jinavaravamsa, P. C., on Indian puppets to-day, 34.
Joly, Henri, on antiquity of Japanese shows, 43–44.
Jones, Henry Festing, quoted on Sicilian shows, 71–77.
Jonson, Ben, mentions puppets in many writings, 150–151.
Joruri, Japanese epic play, 47.
Juvenile drama, 193–194.
Karagheuz, Turkish puppet hero, 37.
Kasperle, German puppet buffoon, 114;
in Faust play, 118–120.
Ketschel, Persian comic puppet, 32.
Kobold, definition, 113.
Kölner Hanneschen Theater, 128.
Kopecki, Bohemian showman, 136.
Kreymborg, Alfred, 183.
La France, puppet theatre on, 109.
La Grille’s Théâtre des Pygmées, 87–88.
Laufer, Dr. Berthold, on marionettes in Egypt, 16.
Laurent Broeders, Belgian showmen, 140–141.
Lemaître, Jules, describes several productions, 110–111.
Lewiss, Clunn, wandering English showman, 155–156.
Lighting a puppet stage, 227–229.
Lima Beans, given in Los Angeles, 183.
Literary puppets in Paris, 109–111.
Little Theatre, Chicago, history of, 173–178.
London, Italian puppets in, 146;
present-day street puppets, 155.
Los Angeles, puppets in, 183.
Louis XIV, puppets a feature of marriage procession, 79;
gives special privileges to La Grille, 88.
Lupi brothers, Italian showmen, 68–69;
description of performance for children, 199–200.
Luschan, von, F., on puppet plays in Turkey, 38.
Luther, Martin, denunciations against actors, 123.
Maccus, Roman buffoon, 21.
Machieltje, Belgian showman, 140.
MacLean, J. Arthur, on puppet performance at Ananda, 29–30.
Maeterlinck’s Death of Tintagiles produced in Cleveland, 179–180;
rehearsal of play, 218–221.
Magnin, Charles, on Greek articulated idols, 18;
on Polichinelle, 205.
Mahabharata, basis of Javanese plays, 26.
Making a marionette, 221–224. See also Materials; Mechanism.
Manik Muja, basis of Javanese plays, 26.
Margueritte, Paul, describes M. Signoret’s puppets, 207.
Marionette, derivation of name, 55.
Marionette Theatre of Munich Artists, 130–131.
Masques, English, 145–146.
Materials, used in ancient Indian puppets, 15;
in Javanese shadows, 25;
in Siamese shadows, 29;
in Cleveland Playhouse puppets, 179–180;
making a marionette to-day, 221–224.
Matthews, Brander, on types of plays for puppets, 211–212.
Maupassant, de, Guy, on Karagheuz plays, 39.
Mechanical dolls in vaudeville, 170–171.
Mechanism, of early Greek puppets, 18;
of Javanese shadows, 27;
of modern Indian puppets, 34;
of Turkish puppets, 38;
intricacy of in Japanese puppets, 45–46;
of Italian puppets, 54–55;
intricate, in modern Italian puppets, 70;
increasing intricacy in France, 90;
of Le Petit Théâtre de M. Henri Signoret, 102–103;
perfection in Tony Sarg’s puppets, 185–186;
simple, in Cleveland Playhouse dolls, 221–224.
Michel, Wilhelm, on comic function of puppets, 204.
Mick, Hettie Louise, writes on plays at Chicago Little Theatre, 175–176.
Midsummer Night’s Dream, production at Chicago Little Theatre, 175–177.
Molière’s Monsieur Pourceaugnac in Madrid, 80.
Monzayemon, Chikamatsu, Japanese playwright, 48.
Mourguet, Laurent, originator of Guignol, 107.
Munich, home of best German puppet shows, 128–133.
Musée Grevin, theatre in, 109.
Nang, Siamese shadow play, 28–29.
Nantes, revocation of Edict made into play, 86–87.
Napoleon, death of, puppet play described by Dickens, 64–66.
Nelson, Lord, imaginary dialogue with Punch, 149.
Neuville, de, Lemercier, guiding spirit of Erotikon Theatron, 95–96;
interest in shadow plays, 98.
New York, Italian show described by Arthur Gleason, 172–173;
puppets of Tony Sarg, 183–191.
Noël, by Bouchor, 110–111.
Ogotai, legend of, 31.
Ombres Chinoises, French shadow plays, 97.
Ombres Françaises, at the Chat Noir, 98–100.
Ombre du cocher poète, L’, first opéra comique, 88–89.
O’Neil, Raymond, director Cleveland Playhouse, 178;
“Construction of Marionette Stage,” 226–229.
Opéra comique, origin, 88–89.
Operator-magicians, 101.
Origin of puppets, theories of scholars, 15–16;
Persian legend, 31–32;
Turkish tales, 36;
Chinese legends, 40–41;
Japanese stories, 44.
Orlando Furioso in Sicily, 71–76.
Osaka, puppet plays in, 48.
Owen, Lillian, 174.
Pandji legends, basis of Javanese plays, 26.
Pantalone, Italian puppet character, 58.
Paris, first permanent puppet stage erected, 83;
George Sand’s theatre, 92–94;
Erotikon Theatron de la rue de la Santé, 94–96;
the Chat Noir, 98–100;
the operator-magicians, 101;
Le Petit Théâtre de M. Henri Signoret, 102–105;
the Vrai Guignol in the Champs Élysées, 107–108;
literary puppets, 109–111;
marionette theatre at 1900 Exposition, 109;
Guignol performances, 197–198.
Passion play, at Catania, 77–78.
Pathological types of Turkish puppets, 37.
Payne-Collier, arranges Tragical Comedy of Punch and Judy, 149.
Persia, puppetry in, 31–32.
Petit Théâtre in Belgium, 141.
Piccini, Italian showman in England, 146.
Pierrot Guitariste, puppet by De Neuville, 96.
Pinkethman, London showman, 153.
Pischel, Prof. Richard, on origin of puppets, 15–16;
on puppet plays of India, 32–33.
Pivetta, definition, 67.
Playhouse, in Cleveland, gives puppet plays, 178–183;
construction of dolls, 221–224.
Plays, suited to puppets, 210–214.
Pocci, Graf, writer of fairy plays for puppets, 129;
Three Wishes produced by Tony Sarg, 186–187.
Poetic drama, difficulties of production, 190–191.
Poland, religious plays in, 138–139;
Wyspianski’s interest in puppets, 196–197.
Polichinelle, French puppet character, 83;
varied career, 106–107;
plea for, 203–215.
See also Pulcinella; Punch; Punchinello.
Pollock, B., publisher of juvenile plays, 193–194.
Portugal, puppets in, 80.
Powell, clever London motion maker, 151–152.
Prodigal Son, popular play in Hamburg, 115.
Producing a play, in Java, 26;
in India, 34;
in Turkey, 38;
in China, 41–43;
in Japan, 45–47;
French restrictions in 17th century, 87–88;
Midsummer Night’s Dream in Chicago, 176–177;
behind the scenes, 216–224;
construction of stage, 226–229.
Pühony, Ivo, puppet maker, 134;
his marionettes, Ernst Ehlert quoted, 206.
Pulcinella, Italian puppet character, 22, 58. See also Polichinelle; Punch; Punchinello.
Punch, origin of name, 146–147. See also Polichinelle; Pulcinella.
Punchinello, his prestige and prowess, 147–150. See also Polichinelle; Pulcinella; Punch.
Pupazzi, derivation of name, 55.
Ramayana, basis of Javanese plays, 26;
basis of Siamese Nang, 28;
modern production of in India, 34.
Rehearsal of play, 218–221.
Rehm, R. S., on puppet show in Samarkand, 30–31;
on Chinese shadows, 42–43;
on Rivière’s shadow pantomimes, 99–100.
Religious plays, at Catania, 77–78;
in Spain, 78;
revocation of Edict of Nantes produced, 86–87;
in Russia, 137–139;
in Poland, 138–139;
in England, 145;
specially suited to marionettes, 211.
See also Passion play.
Religious puppets, at Antinoë, 17;
in Greece, 18;
in Rome, 21;
in Catacombs, 22;
in Burma, 30;
in Ceylon, 33.
See also Idols; Images; Statues.
Repertory, varied in Italian puppet shows, 56–62;
varied in medieval Germany, 123–125;
in Munich theatres, 131–132.
Restrictions on production, in 17th century France, 87–88.
Rivière, Henri, makes pantomimes for Chat Noir, 99–100.
Rome, ancient, articulated statues, 21;
Rome, modern, many puppet theatres in, 60–62.
Rose and the Ring produced by Tony Sarg, 189–190;
account of Cleveland performance, 200–201.
Russia, puppet plays in, 137–139.
Saint-Genois, de, Alfred and Charles, 101.
Saint Germain Fair, puppet shows at, 87.
Saint Laurent Fair, puppet shows at, 87.
Salome, in puppet performance, 211–212.
Samarkand, performance of Tschadar Chajal in, 30–31.
Sand, George, establishes Théâtre des Amis, 92–94.
Sanskrit, restriction in use of, 33.
Sarg, Tony, experiments with marionettes in London and New York, 184–191;
takes The Rose and the Ring to Cleveland, 200–201.
Scala, Flaminio, 17th century director, 59.
Scapino, Italian puppet character, 58.
Scaramuccia, Italian puppet character, 58.
Sceaux, puppet stage in chateau, 89–90.
Schmidt, “Papa,” beloved Munich showman, 129–130;
appreciation of work, 195.
Schutz and Dreher, showman of Berlin, 121.
Seneca, death of, shown in Valencia, 80.
Seraphin, Dominique, producer of shadow plays, 97.
Shadow plays, in France, 96–100;
in Munich, 132.
“Shadows,” Javanese, how made, 25;
of Siamese Nang, 28–29;
Turkish, origin and excellence of, 36–39;
Chinese development, 39–43.
Shadowy Waters produced by Cleveland puppets, 182.
Shakespeare, Tempest produced by M. Signoret, 103–104;
allusions to puppet shows, 143–144;
Midsummer Night’s Dream in Chicago, 175–177.
Shaw, G. Bernard, on marionettes and acting, 209;
on future of puppet shows, 214.
Siam, unusual shadows of the Nang, 28–29.
Sicily, great popularity of marionettes in, 70–78.
Signoret, Henri, le Petit Théâtre de, 102–103;
puppets described by Paul Margueritte, 207–208.
Simmonds, William, artist and amateur puppeteer, 158–160.
Simplification of puppets by Gordon Craig, 162–163.
Socrates and the showman, 20.
Spain, history of puppets in, 78–80.
Spectator, frequent mention of puppets, 151–152.
Stage, construction of (O’Neil), 226–229.
Statues, articulated, in Rome, 21. See also Idols; Images; Religious puppets.
Stentorella, Italian puppet character, 58.
Stevenson’s A Penny Plain and Twopence Colored, quoted, 193–194.
Sthapaka, definition, 16.
Stoddard, Anne, describes production of Three Wishes, 186–187.
Sutradhara, definition, 16.
Symons, Arthur, on art of marionette, 206–207.
Tattermann, definition, 113.
Technique of production. See Producing a play.
Tempest, production described by Anatole France, 103–104.
Temptation of St. Anthony, by Rivière, 99–100.
Teoli, Italian marionettist, 61.
Teschner, Richard, marionette maker in Vienna, 133.
Thackeray’s Rose and the Ring produced, 189–190, 200–201.
Théatines, order of monks, give spectacles, 83.
Théâtre des amis, history of, 92–94.
Three Wishes, produced by Tony Sarg, 186–187.
Tintagiles. See Death of Tintagiles.
Titeres, Spanish puppets, 79.
Tocha, definition, 113.
Tokkenspiel, early subject matter, 114.
Tokyo, puppet plays in, 48.
Tombs, Egyptian, puppets found in, 16;
jointed images found in Catacombs, 22.
Toone, Belgian showman, 140.
Torino, famous theatre in, 68–69;
description of performance at Lupi theatre, 199–200.
Torriani, Giovanni, inventor, 78.
Toy theatres, 192–197.
Tragedy of Nauplius, representative Greek show, 19–20.
Travelling showmen, in Greece, 20;
in Rome, 21;
in China, 41;
in Spain, 79;
in Russia, 137–138;
in London and rural England, 155.
Treat, Grace, 179.
Tschadar Chajal, puppet play of Turkestan, 30–31.
Turkestan, two types of puppets, 30.
Turkey, legends of origin of puppets, 36.
Types of puppets, on early Roman stage, 21;
in Turkey, 37;
in Italy, 54, 57–58.
Van Volkenburg, Ellen, 174.
Variety bills follow Thirty Years’ War in Germany, 123–125.
Vasari, quoted, on church spectacles, 51–52.
Venice, medieval puppets in, 67.
Vidusaka, Indian puppet buffoon, 34.
Vienna, the dolls of Richard Teschner, 133.
Voltaire’s interest in puppets, 90.
War zone, French puppets in, 111–112.
Wayang dramas, Javanese shadow plays, 25–28.
Wheeler, Katherine, 174.
Wilkinsons, amateur English marionettists, 156–157.
Williamson, Mrs. Hamilton, 187–188.
Winter, Christoph, Cologne showman, 128.
Woltje, Belgian puppet buffoon, 140.
Writing for puppets, 217–218.
Wundt, Prof., on comic function of puppets, 203.
Wyspianski, Stanislaw, early plays with puppets, 196–197.
Yeats’ Shadowy Waters produced in Cleveland, 182.
Yeddo, 18th century centre for puppet drama, 48.
Yorick (pseud.), on puppets in Egypt, 16;
on growth of Greek puppetry, 18.
See also Ferrigni.
Zelenko, Alexander, quoted on modern Russian puppets, 137–138.

A Book of Marionettes

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