Fig. 12.—Showing how and where threads should be attached.
Having prepared the figures, they must now be made to act and move in a rational manner.
Five black threads are attached to each figure and ascend to the flies, where they are manipulated by the performer. A glance at [Fig. 12] shows how and where these threads are to be attached. Fix A and B to the right and left hand respectively, C and D to the knees, whilst E must fasten to the back, where it serves to support the figure. These threads should be very fine, for the whole success of your undertaking depends upon their concealment.
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.