Marionettes, masks and shadows

by Winifred H. Mills; Louise M. Dunn

Scene IV is again at the fair. There are gay dances by gypsies and nounous. Petrouchka runs in, chased by the Moor who stabs him. The people draw away and the Ballerina kneels beside him. The manager comes in, the Moor, the Ballerina, and all the people depart. The manager drags poor, lifeless Petrouchka toward the little theater. Suddenly up over the little theater appears the spirit of Petrouchka, mocking and gesticulating. The manager stands aghast.

So that you may understand how this ballet was produced, let us take the second scene and work it out together. The scene opens with a crashing chord as Petrouchka is thrown onto the stage. (No less than thirty times did the puppeteer rehearse this entrance with the music.) He lay in a motionless heap. At a few plaintive notes he lifts his head, then drops it again. To the quick notes that follow he beats the floor with his hands. As the music grows in volume, his despair increases, and he leaps to his feet and rushes wildly about the room, beating frantically upon the walls. As the music changes and becomes soft and reminiscent, Petrouchka thinks of the Ballerina and stretches out his arms, then sorrowfully drops his head. The motif for the Ballerina announces her entrance. She comes in gay and light as a bird. Petrouchka, overcome with emotion, drops on his knees before her. She continues her gay little dance and leaves as lightly as she entered. Despair again seizes Petrouchka, who dashes himself against the walls, then finally falls to the ground. The curtains close.

In a gymnasium there are certain exercises that bring all the muscles of the body into use. Likewise there are times when the whole body of a marionette must come into action. If you want a marionette to climb a wall, your audience must feel that the marionette is actually pulling himself, with effort, up and over the wall. This requires a great deal of patient practice. To make your marionette climb a wall, he must first appear to catch hold of the wall, then to draw up one knee, then to strain up as you would, then to throw an arm over the wall, then to pull his body up until he can throw a leg over the wall. If this is well done, the audience climbs the walls with the puppet.

Sometimes, puppets must appear to assist each other. For instance, when Myles was thrown on the ground by the bully, Walter Blunt, Gascoigne, his friend, got down on one knee beside him, threw his arm around his shoulders, and apparently helped him to rise.

There are certain little tricks which are very effective, such as crying, or dropping off to sleep and snoring. In the Childhood of David Copperfield, Mrs. Gummage frequently lifted her apron to her eyes and wept. As one corner of her apron was sewed to her hand, this was an easy thing to do. Can you see her, shoulders shaking, her apron to her eyes, sniffling, “I am a lone, lorn critter and everything goes contrary with me?”

In the illustration, page 130, you can see how a puppet may appear to toss a ball. This is the way it was done. One puppeteer held the Moor’s controller while his assistant held the end of a string attached to the ball. Through practice, these puppeteers were able to make the Moor’s hand and the ball rise at the same moment, thereby giving the impression that the Moor tossed the ball. When the Moor stopped playing with the ball, the puppeteer who held the string attached to the ball let it fall to the stage. The audience felt that the Moor was tired of playing and had tossed the ball aside.

In this same ballet, an organ grinder appeared. The handle of the organ was fastened to one of his hands. When the puppeteer pulled the hand string up and down in time with the music, it seemed to the audience that the organ was really being played. A marionette can be made to play a flute. The flute is fastened in one hand, and a string from the flute passed through the mouth of the marionette up through the top of its head to the controller. When the puppeteer pulls the flute string, the flute is raised to the mouth of the marionette.

All these effects and many others can be accomplished when you understand the manipulation of your strings. Sometimes you may wish to use birds, bees, butterflies, or flying dragons. If you keep the wings in constant motion you can make your audience believe that these winged creatures are really flying. Of course, bees and butterflies move their wings more rapidly than birds and dragons. The more you observe flying birds, the better you will be able to imitate them.

You have made the puppet look the part, now see that it acts the part. You have made your hero look like a hero, now see that he acts like a hero. You made the king look like a king. Can you make him act like a king?

The third step in your training as a puppeteer comes when you have acquired enough skill to manage your puppet. Then you are ready to join your fellow puppeteers on the bridge. At first you will probably feel that the bridge is not large enough for you alone, not to mention four or five others. Experience will show you, however, that you can do a great deal in a very small space. This means good management and practice and consideration for your fellow puppeteers.