Working the Puppets
Fig. 13.—Finger loops for manipulating puppet.
There are two methods of holding the threads and working the puppets, the first of which is also shown in [Fig. 12]. The arm threads, A and B, are attached to the end of a stick, F; the leg threads are similarly attached to another stick, G, to the center of which the body thread, E, is fastened.
The sticks are then held, one in each hand, or both in the same. Although more convenient for manipulation, this method possesses the disadvantage of limiting each operator to the management of one puppet, and where there are several characters upon the stage, much confusion may result. If the two sticks be held in one hand free play, so far as pulling the strings is concerned, is allowed to the fingers, and there should be no difficulty in working two Marionettes at the same time, one with each hand.
An easier method of manipulating the figures is shown in [Fig. 13]. The thread attachments are the same, but instead of being fastened to sticks, each string terminates in a brass ring placed upon the finger. The threads should be of such a length that, when the hand is held as in [Fig. 13], the body of the puppet will be upright, the legs stretched, and the arms dropped by the sides.
Place the rings upon the fingers in the following order: The body string, E, to the third finger; the leg strings, C and D, to the thumb and little finger; and the arm threads to the first and second fingers, as shown in [Fig. 13].
With very little practice the figures can be made to walk, the progressive motion of the legs being manipulated by alternately moving the thumb and little finger. A similar movement of the first and second fingers will put the arms into action.
When sitting upon a chair, the lower parts of the legs bend by their own weight, and you will need only to pull the body string to make the figure rise quite naturally.
The theater, scenery and actors being ready, it remains to decide what they shall play.
Your programme must necessarily be chosen according to the audience. Presuming there is somebody to assist you in working the figures, thereby making it possible to have three or four characters upon the stage at once, the variety of plays is very great, and the choice of one or two short pieces should be easy. Several publishers issue large assortments of Marionette plays, and catalogues can be obtained giving full particulars as to the number of characters required, scenery necessary, and so forth.
The Marionette stage is not adapted to heavy drama. Tragedies would be ridiculous on the “two foot boards.” The rôles, therefore, assumed by each character should be amusing and topical, containing allusions likely to be understood by the spectators, and interspersed with such local “gags” as opportunity may suggest.
The two operators should divide their labors, as far as possible, in such a way that the lady does the female characters, whilst her partner works the men. The reason for this division is clear, for it will come more natural for a lady to caricature the female voice, whilst her accomplice will be better suited to the stern accents of the menacing policeman, or the passionate entreaties of the ardent lover.