La marioneta es una forma de teatro o actuación que implica la manipulación de marionetas : objetos inanimados , que a menudo se asemejan a algún tipo de figura humana o animal, que son animados o manipulados por un humano llamado titiritero . Tal actuación también se conoce como producción de títeres. El guión de una producción de títeres se llama obra de títeres. Los titiriteros utilizan movimientos de manos y brazos para controlar dispositivos como varillas o cuerdas para mover el cuerpo, la cabeza, las extremidades y, en algunos casos, la boca y los ojos del títere. El titiritero a veces habla con la voz del personaje de la marioneta, mientras que otras veces actúa con una banda sonora grabada.
Títeres | |
---|---|
Artes ancestrales | Teatro |
Era de origen | 3000 años antes de Cristo |
Hay muchas variedades diferentes de títeres y están hechos de una amplia gama de materiales, según su forma y uso previsto. Pueden ser extremadamente complejos o muy simples en su construcción. Los títeres más simples son los títeres de dedo , que son pequeños títeres que caben en un solo dedo, y los títeres de calcetín , que se forman a partir de un calcetín y se manejan insertando la mano dentro del calcetín, con la apertura y cierre de la mano simulando el movimiento la "boca" de la marioneta. Un títere de mano o un títere de guante es controlado por una mano que ocupa el interior del títere y mueve el títere alrededor. Las marionetas Punch y Judy son ejemplos familiares. Otros títeres de mano o de guante son más grandes y requieren dos titiriteros para cada títere. Las marionetas japonesas de Bunraku son un ejemplo de esto. Las marionetas están suspendidas y controladas por una serie de cuerdas, además de a veces una barra central unida a una barra de control sostenida desde arriba por el titiritero. Los títeres de varilla están hechos de una cabeza unida a una varilla central. Sobre la barra hay una forma de cuerpo con brazos unidos controlados por barras separadas. Como consecuencia, tienen más posibilidades de movimiento que una simple marioneta de mano o de guante.
La marioneta es una forma de teatro muy antigua que se registró por primera vez en el siglo V a. C. en la antigua Grecia . Algunas formas de títeres pueden haberse originado ya en 3000 años antes de Cristo . [1] Las marionetas adoptan muchas formas, pero todas comparten el proceso de animar objetos escénicos inanimados para contar una historia. La marioneta se produce en casi todas las sociedades humanas donde las marionetas se utilizan con fines de entretenimiento a través de la actuación, como objetos sagrados en rituales , como efigies simbólicas en celebraciones como carnavales y como catalizador para el cambio social y psicológico en las artes transformadoras . [2]
Historia
La marioneta es una forma de arte muy antigua, que se cree que se originó hace unos 4000 años. [1] Las marionetas se han utilizado desde los tiempos más remotos para animar y comunicar las ideas y necesidades de las sociedades humanas. [3] Algunos historiadores afirman que son anteriores a los actores del teatro. [4] Existe evidencia de que se usaron en Egipto ya en el año 2000 a. C., cuando se manipularon figuras de madera operadas con cuerdas para realizar la acción de amasar pan. [ cita requerida ] También se han encontrado en tumbas egipcias marionetas articuladas y controladas por alambre hechas de arcilla y marfil . [ cita requerida ] Los jeroglíficos también describen "estatuas andantes" que se utilizan en los antiguos dramas religiosos egipcios . [1] La títeres se practicaba en la antigua Grecia y los registros escritos más antiguos de títeres se pueden encontrar en las obras de Herodoto y Jenofonte , que datan del siglo V a. C. [5] [6] [7]
África
El África subsahariana puede haber heredado algunas de las tradiciones de títeres del antiguo Egipto. [1] Ciertamente, las sociedades secretas de muchos grupos étnicos africanos todavía usan títeres (y máscaras ) en los dramas rituales, así como en sus ceremonias de curación y caza. [ cita requerida ] Hoy en día, los títeres continúan como una forma popular, a menudo dentro de un contexto ceremonial, y como parte de una amplia gama de formas folclóricas que incluyen la danza, la narración de cuentos y la actuación enmascarada . [ cita requerida ] En la década de 2010 en todas las zonas rurales de África, los títeres seguían desempeñando la función de transmitir valores e ideas culturales que en las grandes ciudades africanas se realiza cada vez más mediante la educación formal, los libros, el cine y la televisión. [ cita requerida ]
Asia
este de Asia
Hay poca evidencia de títeres en la civilización del valle del Indo . Los arqueólogos han desenterrado una muñeca de terracota con una cabeza desmontable capaz de manipularse con una cuerda que data del 2500 a. C. [8] Otra figura es un mono de terracota que podría manipularse hacia arriba y hacia abajo con un palo, logrando una animación mínima en ambos casos. [8] Las marionetas se describen en la épica Mahabharata , la literatura tamil de la era Sangam y varias obras literarias que datan desde finales de los siglos a. C. hasta los primeros siglos d. C., incluidos los edictos de Ashoka . [9] Obras como el Natya Shastra y el Kama Sutra elaboran los títeres con cierto detalle. [10]
China tiene una historia de títeres que se remonta a 3000 años, originalmente en pi-yung xi , el "teatro de las sombras de las linternas", o como se le conoce más comúnmente hoy en día, el teatro de sombras chino . En la dinastía Song (960-1279 d. C.), los títeres se tocaban para todas las clases sociales, incluidas las cortes, pero se consideraba que los titiriteros, como en Europa, pertenecían a un estrato social más bajo. [1] En Taiwán , los espectáculos de marionetas budaixi , algo similares al bunraku japonés, ocurren con titiriteros trabajando en el fondo o bajo tierra. Algunos titiriteros muy experimentados pueden manipular sus títeres para realizar diversas acrobacias, por ejemplo, saltos mortales en el aire.
Japón tiene muchas formas de títeres, incluido el bunraku . Bunraku se desarrolló a partir de los ritos del templo sintoísta y gradualmente se convirtió en una forma muy sofisticada de títeres. Chikamatsu Monzaemon , considerado por muchos como el mejor dramaturgo de Japón, dejó de escribir obras de kabuki y se centró exclusivamente en las obras de bunraku de marionetas. Inicialmente compuesto por un titiritero, en 1730 se utilizaron tres titiriteros para operar cada títere a la vista del público. [1] Los titiriteros, que vestían todos de negro, se volvían invisibles al pararse sobre un fondo negro, mientras que las antorchas iluminaban solo los títeres de madera tallados, pintados y disfrazados.
Títere de sombras chino (estilo Beijing)
Marionetas de palo chino
Hanuman y Ravana en Togalu Gombeyaata , una tradición de marionetas de sombras en la parte sur de la India
Sanbaso bunraku puppet, Tonda Puppet Troupe, Japón
El personaje Osono de la obra Hade Sugata Onna Maiginu [a]
Se cree que la tradición coreana de los títeres proviene de China. La evidencia histórica más antigua de títeres en Corea proviene de una carta escrita en 982 d.C. de Choe Seung-roe al rey. [11] En coreano, la palabra para títere es Kkoktugakshi . [11] Gagsi significa "novia" o "mujer joven", que era la forma más común que tomaban las muñecas. Una obra de títeres kkoktugakshi tiene ocho escenas. [11]
El sudeste de Asia
El teatro wayang de Indonesia fue influenciado por tradiciones indias . [12] Algunos estudiosos remontan el origen de las marionetas a la India hace 4000 años, donde el personaje principal de las obras en sánscrito era conocido como Sutradhara , "el portador de cuerdas". [3] Wayang es una fuerte tradición de títeres nativa de Indonesia , especialmente en Java y Bali . En Java, wayang kulit , una forma elaborada de títeres de sombras, es muy popular. Las marionetas de varilla de Java tienen una larga historia y se utilizan para contar fábulas de la historia de Java. Otra forma de títeres popular en Indonesia es wayang golek .
Tailandia tiene hun krabok , una forma popular de teatro de títeres de varilla.
Vietnam desarrolló la forma de arte de los títeres acuáticos , única en ese país. Los títeres están hechos de madera y los espectáculos se realizan en una piscina que llega a la cintura. Los titiriteros utilizan una varilla grande debajo del agua para sostener y controlar a los títeres, creando la apariencia de que los títeres se mueven sobre el agua. El origen de esta forma de títeres se remonta a setecientos años cuando los arrozales se inundaban y los aldeanos se divertían entre sí. Los concursos de espectáculos de marionetas entre pueblos vietnamitas finalmente llevaron a la creación de sociedades de marionetas secretas y exclusivas.
El Filipinas desarrolló por primera vez su arte de las marionetas durante el período colonial español. El títere filipino más antiguo conocido es el carrillo , también conocido como kikimut , titire y potei . Se registró por primera vez en 1879. Se trata de pequeños carros utilizados en juegos de títeres con figuras de cartón utilizadas para juegos de sombras. [13] [14] A finales del siglo XIX, se desarrolló otro títere filipino. Los higantes son títeres gigantes de papel maché , que suman más de un centenar, que desfilan por la ciudad durante el Festival de Higantes . Estos títeres se hacen como una devoción a San Clemente y como una burla contra los terratenientes de la época colonial que discriminaban a los filipinos. Varias tradiciones están conectadas con los higantes . [15] [16] Desde el siglo XX, se han desarrollado múltiples artes de títeres en Filipinas. [13] Un titiritero filipino notable es Amelia Lapeña Bonifacio . [17]
En Birmania , hoy llamada Myanmar, se desarrolló una forma elaborada de espectáculos de marionetas, llamada Yoke thé , basada en el patrocinio real. La fecha probable del origen de las marionetas birmanas se da alrededor de 1780, durante el reinado del rey Singu Min , y su introducción se atribuye al Ministro de Entretenimiento Real, U Thaw. Desde sus inicios, las marionetas gozaron de gran popularidad en las cortes de la dinastía Konbaung . Poco ha cambiado desde la creación del arte por U Thaw, y el conjunto de personajes desarrollado por él todavía está en uso hoy.
Wayang Kulit (marioneta de sombras) Kumbakarna , Tropenmuseum Collectons, Indonesia , antes de 1914
Wayang Kulit (marioneta de sombras) Gatot Kaca , Tropenmuseum Collectons, Indonesia , antes de 1914
Wayang Kulit (marioneta de sombras) Wibisana , Tropenmuseum Collectons, Indonesia antes de 1933
Wayang Kulit (marioneta de sombras) Princesa Shinta , Tropenmuseum Collectons, Indonesia antes de 1983
Wayang Kulit (marioneta de sombras) Yudhishthira , Tropenmuseum Collectons, Indonesia antes de 1914
Wayang Kulit (marioneta de sombras) Princess Tari, Tropenmuseum Collectons, Indonesia antes de 1934
Wayang kulit , un juego de títeres y sombras de Java, Bali y Lombok de Indonesia
Yugo los títeres, que representan el patrocinio real, de Myanmar
Hun krabok , títeres manejados por tres artistas de Tailandia
Marionetas de agua , un arte único originario de Vietnam
India
India tiene una larga tradición de títeres. En la antigua epopeya india Mahabharata hay referencias a títeres. Kathputli , una forma de actuación de títeres de cuerda nativa de Rajasthan , es notable y hay muchos ventrílocuos y titiriteros indios. El primer ventrílocuo indio, el profesor YK Padhye , introdujo esta forma de títeres en la India en la década de 1920 y su hijo, Ramdas Padhye, popularizó posteriormente el ventriloquismo y los títeres. Casi todos los tipos de marionetas se encuentran en la India. [18]
- Marionetas de hilo
India tiene una rica y antigua tradición de títeres de hilo o marionetas. Las marionetas con miembros articulados controlados por cuerdas permiten una flexibilidad mucho mayor y, por lo tanto, son las marionetas más articuladas. Rajasthan, Orissa, Karnataka y Tamil Nadu son algunas de las regiones donde ha florecido esta forma de títeres. Las marionetas tradicionales de Rajasthan se conocen como Kathputli . Tallados en una sola pieza de madera, estos títeres son como muñecos grandes vestidos de colores. Las marionetas de hilo de Orissa se conocen como Kundhei . Las marionetas de hilo de Karnataka se llaman Gombeyatta . Los títeres de Tamil Nadu , conocidos como Bommalattam , combinan las técnicas de los títeres de varilla y cuerda.
- Títeres de sombra
India tiene una variedad de tipos y estilos de títeres de sombras. Los títeres de sombras son figuras planas talladas en cuero, que han sido tratadas para hacerlas translúcidas. Las marionetas de sombras se presionan contra la pantalla con una fuerte fuente de luz detrás. La manipulación entre la luz y la pantalla crea siluetas o sombras de colores, según sea el caso, para los espectadores que se sientan frente a la pantalla. Esta tradición de títeres de sombras sobrevive en Orissa, Kerala, Andhra Pradesh, Karnataka, Maharashtra y Tamil Nadu. Tholpavakoothu (o Tolpava Koothu ) es una tradición de títeres de sombras que es exclusiva de Kerala , India. El teatro de sombras de Karnataka se conoce como Togalu Gombeyatta y como Togalu Gombeyaata en Andhra Pradesh . Estos títeres son en su mayoría de tamaño pequeño. Las marionetas, sin embargo, difieren en tamaño según su estatus social: por ejemplo, tamaño grande para reyes y personajes religiosos y tamaño más pequeño para gente común o sirvientes.
- Marionetas de varilla
Las marionetas de varilla son una extensión de las marionetas de guante, pero a menudo son mucho más grandes y están sostenidas y manipuladas por varillas desde abajo. Esta forma de títeres ahora se encuentra principalmente en Bengala Occidental y Orissa . La forma tradicional de marioneta de varilla de Bengala Occidental se conoce como Putul Nautch . Están tallados en madera y siguen los diversos estilos artísticos de una región en particular. El títere de varilla tradicional de Bihar se conoce como Yampuri .
- Marionetas de guante
Las marionetas de guante también se conocen como marionetas de manga, mano o palma. La cabeza está hecha de papel maché , tela o madera, con dos manos que emergen justo debajo del cuello. El resto de la figura consta de una falda larga y fluida. Estos títeres son como muñecos flácidos, pero en manos de un titiritero capaz, son capaces de producir una amplia gama de movimientos. La técnica de manipulación es sencilla, los movimientos son controlados por la mano humana, el primer dedo insertado en la cabeza y el dedo medio y el pulgar en los dos brazos del títere. Con la ayuda de estos tres dedos, la marioneta de guante cobra vida.
The tradition of glove puppets in India is popular in Uttar Pradesh, Orissa, West Bengal and Kerala. In Uttar Pradesh, glove puppet plays usually present social themes, whereas in Orissa such plays are based on stories of Radha and Krishna. In Orissa, the puppeteer plays a dholak (hand drum) with one hand and manipulates the puppet with the other. The delivery of the dialogue, the movement of the puppet and the beat of the dholak are well synchronised and create a dramatic atmosphere. In Kerala, the traditional glove puppet play is called Pavakoothu.
Traditional Indonesian puppets and puppeteer
Wayang puppet from Bali, Indonesia
Elephant and young man, late 19th-century, Burma
Burmese puppet theatre with musicians in the foreground (19th-century watercolour)
Afghanistan
Afghanistan has produced a form of puppetry known as buz-baz. During a performance a puppeteer will simultaneously operate a marionette of a markhor while playing a dambura (long-necked lute).
West Asia
Middle Eastern puppetry, like its other theatre forms, is influenced by the Islamic culture. Karagoz, the Turkish Shadow Theatre, has widely influenced puppetry in the region and it is thought to have passed from China by way of India. Later, it was taken by the Mongols from the Chinese and passed to the Turkish peoples of Central Asia. The art of Shadow Theater was brought to Anatolia by the Turkish people emigrating from Central Asia. Other scholars claim that shadow theater came to Anatolia in the 16th century from Egypt. The advocates of this view claim that shadow theatre found its way into the Ottoman palaces when Yavuz Sultan Selim conquered Egypt in 1517. He saw shadow theatre performed during a party in his honour and he was said to be so impressed with it that he took the puppeteer back to his palace in Istanbul where his 21-year -old son, later Sultan Suleyman the Magnificent, developed an interest in the plays.[19]
In other areas, the style of shadow puppetry known as khayal al-zill, a metaphor translated as "shadows of the imagination" or "shadow of fancy", still survives. This is a shadow play with live music, "the accompaniment of drums, tambourines and flutes...also..."special effects" – smoke, fire, thunder, rattles, squeaks, thumps, and whatever else might elicit a laugh or a shudder from his audience"[20]
In Iran, puppets are known to have existed much earlier than 1000 AD, but initially only glove and string puppets were popular .[21] Other genres of puppetry emerged during the Qajar era (18th and 19th centuries) as influences from Turkey spread to the region. Kheimeh Shab-Bazi is a traditional Persian puppet show which is performed in a small chamber by a musical performer and a storyteller called a morshed or naghal. These shows often take place alongside storytelling in traditional tea and coffee-houses (Ghahve-Khane). The dialogue takes place between the morshed and the puppets. A recent example of puppetry in Iran is the touring opera Rostam and Sohrab.
Europe
Ancient Greece and Rome
Although there are few remaining examples of puppets from ancient Greece, historical literature and archaeological findings shows the existence of puppetry. The Greek word translated as "puppet" is "νευρόσπαστος" (nevrospastos), which literally means "drawn by strings, string-pulling",[22] from "νεῦρον" (nevron), meaning either "sinew, tendon, muscle, string", or "wire",[23] and "σπάω" (spaō), meaning "draw, pull".[24][25] Aristotle referred to pulling strings to control heads, hands and eyes, shoulders and legs.[26] Plato's work also contains references to puppetry. The Iliad and the Odyssey were presented using puppetry. The roots of European puppetry probably extend back to the Greek plays with puppets played to the "common people" in the 5th century BC. By the 3rd century BC these plays would appear in the Theatre of Dionysus at the Acropolis.[1]
In ancient Greece and ancient Rome clay dolls, and a few of ivory, dated from around 500 BC, were found in children's tombs. These dolls had articulated arms and legs, and in some cases an iron rod extending up from the tops of their heads. This rod was used to manipulate the doll from above, as it is done today in Sicilian puppetry. A few of these dolls had strings in place of rods. Some researchers believe these ancient figures were simply toys and not puppets, due to their small size.[27]
Italy
- Middle Ages and Renaissance
Italy is considered by many to be the early home of the marionette due to the influence of Roman puppetry. Xenophon and Plutarch refer to them.[28] The Christian church used marionettes to perform morality plays.[28] It is believed that the word marionette originates from the little figures of the Virgin Mary, hence the word "marionette" or "Mary doll.[29] Comedy was introduced to the plays as time went by, and ultimately led to a church edict banning puppetry. Puppeteers responded by setting up stages outside cathedrals and became even more ribald and slapstick. Out of this grew the Italian comedy called Commedia dell'arte. Puppets were used at times in this form of theatre and sometimes Shakespeare's plays were performed using marionettes instead of actors.[30]
In Sicily, the sides of donkey carts are decorated with intricate, painted scenes from the Frankish romantic poems, such as The Song of Roland. These same tales are enacted in traditional puppet theatres featuring hand-made marionettes of wood. In Sicilian this is called "Opera dei pupi", or "Opera of the puppets". The "Opera dei pupi" and the Sicilian tradition of cantastorie, the word for storyteller, are rooted in the Provençal troubadour tradition, in Sicily during the reign of Frederick II, Holy Roman Emperor, in the first half of the 13th century.
- 18th and 19th centuries
The 18th century was a vital period in the development of all Italian theatre, including the marionette theatre. The rod puppet was mainly of lower-class origin, but the marionette theatre was popular in aristocratic circles, as a celebration of the Age of Enlightenment. The effects, and the artful and complex construction of the puppets, the puppet theatres, and the puppet narratives, were all popular, particularly in Venice.[31] In the 19th century, the marionettes of Pietro Radillo became more complex and instead of just the rod and two strings, Radillo's marionettes were controlled by as many as eight strings, which increased control over the individual body parts of the marionettes.[citation needed]
France
Guignol is the main character in the French puppet show which has come to bear his name. Although often thought of as children's entertainment, Guignol's sharp wit and linguistic verve have always been appreciated by adults as well, as shown by the motto of a prominent Lyon troupe: "Guignol amuses children… and witty adults". Laurent Mourguet, Guignol's creator, fell on hard times during the French Revolution, and in 1797 started to practice dentistry, which in those days was simply the pulling of teeth. To attract patients, he started setting up a puppet show in front of his dentist's chair.
His first shows featured Polichinelle, a character borrowed from the Italian commedia dell'arte. By 1804 the success was such that he gave up dentistry altogether and became a professional puppeteer, creating his own scenarios drawing on the concerns of his working-class audience and improvising references to the news of the day. He developed characters closer to the daily lives of his Lyon audience, first Gnafron, a wine-loving cobbler, and in 1808 Guignol. Other characters, including Guignol's wife Madelon and the gendarme Flagéolet soon followed, but these are never much more than foils for the two heroes. Guignol's inevitable victory is always the triumph of good over evil.
Great Britain
The traditional British Punch and Judy puppetry traces its roots to the 16th century to the Italian commedia dell'arte.[32] The character of "Punch" derives from the character Pulcinella, which was Anglicized to Punchinello. He is a manifestation of the Lord of Misrule and Trickster, figures of deep-rooted mythologies. Punch's wife was originally "Joan", but later became "Judy". In the late 18th and early 19th centuries, the familiar Punch and Judy puppet show which existed in Britain was performed in an easily transportable booth. The British Puppet and Model Theatre Guild in the early 20th century instigated a resurgence of puppetry. Two of the Guild's founders, H. W. Whanslaw and Waldo Lanchester, both worked to promote and develop puppetry with publications of books and literature, mainly focusing on the art of the marionette. Lanchester had a touring theatre and a permanent venue in Malvern, Worcestershire, regularly taking part in the Malvern Festival and attracting the attention of George Bernard Shaw. One of Shaw's last plays, Shakes versus Shav, was written for and first performed in 1949 by the company.[citation needed]
From 1957 to 1969, Gerry Anderson produced many television series starring marionettes, starting with Roberta Leigh's The Adventures of Twizzle and ending with The Secret Service. Many of these series (the most famous of which was Thunderbirds) employed a technique called Supermarionation, which automatically synchronized the pre-recorded character dialogue to the puppets' mouth movements. Anderson returned to puppetry in 1983 with Terrahawks and the unaired pilot Space Police in 1987.
Current British puppetry theatres include the Little Angel Theatre in Islington, London, Puppet Theatre Barge in London, Norwich Puppet Theatre, the Harlequin Puppet Theatre, Rhos-on-Sea, Wales, and the Biggar Puppet Theatre, Biggar, Lanarkshire, Scotland. British puppetry now covers a wide range of styles and approaches. There are also a number of British theatre companies, including Horse and Bamboo Theatre, and Green Ginger, which integrate puppetry into highly visual productions. From 1984 to 1996, puppetry was used as a vehicle for political satire in the British television series Spitting Image. Puppetry has also been influencing mainstream theatre, and several recent productions combine puppetry with live action, including Warhorse, at the Royal National Theatre and Madam Butterfly at the English National Opera.[citation needed]
Netherlands, Denmark, Romania, and Russia
Many regional variants of Pulcinella were developed as the character spread across Europe. In the Netherlands it is Jan Klaassen (and Judy is Katrijn); in Denmark Mester Jackel; in Russia Petrushka; and in Romania Vasilache. In Russia, the Central Puppet Theatre in Moscow and its branches in every part of the country enhanced the reputation of the puppeteer and puppetry in general.[33]
Polichinelle caricature, France
Puppet theater with Gioppino and Brighella, Bergamo Italy
Traditional puppets from Liège, Belgium
Germany and Austria
There is a long tradition of puppetry in Germany and Austria. Much of it derives from the 16th-century tradition of the Italian commedia dell'arte.[32] The German version of the British character of 'Punch' is called Kasperle of Kaspar while Judy is called Grete.[32] In the 18th century, operas were specifically composed for marionette puppets. Gluck, Haydn,[34] de Falla and Respighi all composed adult operas for marionettes.
In 1855, Count Franz Pocci founded the Munich Marionette Theatre. A German dramatist, poet, painter and composer, Pocci wrote 40 puppet plays for his theatre. Albrecht Roser has made a considerable impact with his marionettes in Stuttgart. His characters Clown Gustaf and Grandmother are well-known.[35] Grandmother, while outwardly charming, is savagely humorous in her observations about all aspects of society and the absurdities of life.
In Lindau, the Lindau Marionette Opera was founded in 2000 by Bernard Leismueller and Ralf Hechelmann. The company performs a large number of operas as well as a marionette ballet, Swan Lake.
In Augsburg, the historic Augsburg Marionette Theatre was founded in 1943 by Walter Oehmichen. It continues to this day along with an adjoining puppet museum under the grandsons of the founder, Klaus Marschall and Juergen Marschall.
Much earlier in nearby Salzburg, Austria, the Salzburg Marionette Theatre was founded in 1913 by Professor Anton Aicher and is world-famous. The Salzburg Marionette Theatre still continues the tradition of presenting full-length opera using marionettes in their own purpose built theatre until recently under the direction of Gretl Aicher. It performs mainly operas such as Die Fledermaus and The Magic Flute and a small number of ballets such as The Nutcracker.[36] The Salzburg Marionette Theatre productions are aimed for adults although children are of course welcome.
There is also a marionette theatre at Schoenbrunn Palace in Vienna founded by Christine Hierzer-Riedler and Werner Hierzer over 40 years ago.[37] The marionette theatre performs world famous operas, musicals and fairy tales.
Czech Republic
Marionette puppet theatre has had a very long history in entertainment in Prague, and elsewhere in the Czech Republic. It can be traced deep into the early part of the Middle Ages.[38] Marionettes first appeared around the time of the Thirty Years' War.[38] The first noted Czech puppeteer was Jan Jiri Brat, who was born in 1724. He was the son of a local carpenter and created his own puppet theatre.[38] Matej Kopecky was the most famous 19th-century Czech puppeteer,[38] and was responsible for communicating the ideas of national awareness.[38]
In 1920 and 1926 respectively, Josef Skupa created his most famous puppet characters: comical father Spejbl and his rascal son Hurvínek.[39] In 1930, he set up the first modern professional puppet theatre.[40] An important puppet organisation is the National Marionette Theatre in Prague. Its repertoire mainly features a marionette production of Mozart's opera Don Giovanni. The production has period costumes and 18th-century setting. There are numerous other companies, including Buchty a Loutky ("Cakes and Puppets"), founded by Marek Bečka.[38] Puppets have been used extensively in animated films since 1946.[38] Jiří Trnka was an acknowledged leader in this area.[38] Miroslav Trejtnar is a master puppeteer and teacher of traditional Czech marionette-making skills.[41]
19th century
Throughout this period, puppetry developed separately from the emerging mainstream of actor theatres, and the 'ragged' puppeteers performed outside of theatre buildings at fairs, markets etc., continuing to be classified along with bandits and gypsies.[1] In the 19th century, puppetry faced competition from other forms of theatre such as vaudeville and music hall, but it adapted to these challenges, for example: by developing stage acts and participating in the new forms of popular theatre, or reinventing itself in other ways and finding audiences at the newly fashionable seaside resorts.
North America
The Teotihuacan culture (Central Mexico) of 600 AD made figurines with moveable arms and legs as part of their funerary rites. Native Americans also used ceremonial puppets.[1] In 1519, two puppeteers accompanied Hernando Cortez on his first journey to Mexico. Europeans brought their own puppet traditions with them, but gradually distinctive styles, forms and puppet characters developed in North America.[2]
During the Depression, folk puppeteers traveled with carnivals, working with their own scripts and with dioramas and marionettes of their own manufacture.
Some advances in 20th-century puppetry have originated in the United States. Marionette puppetry was combined with television as early as the 1940s, with Howdy Doody of the United States being a notable marionette in this field. Bil Baird worked on revitalising marionette theatre and puppetry in the United States. He and his wife, Cora Eisenberg had their own marionette theatre in New York. Ventriloquist, Edgar Bergen also made a major contribution.[42] In the 1960s Peter Schumann's Bread and Puppet Theater developed the political and artistic possibilities of puppet theatre in a distinctive, powerful and immediately recognizable way. At roughly the same time, Jim Henson was creating a type of soft, foam-rubber and cloth puppet which became known collectively as Muppets. Initially, through the children's television show Sesame Street, and later in The Muppet Show and on film, these inspired many imitators and are today are recognised almost everywhere. Wayland Flowers also made a major contribution to adult puppetry with his satirical puppet, Madame.
Sid and Marty Krofft are two of Americas most well known puppeteers and were mainly known for their live action children's TV series in the 60s and 70s namely HR Puffinstuff and Lidsville
Puppets also have been used in the Star Wars films, notably with the character of Yoda. His voice and manipulation was provided by Frank Oz.
Edgar Bergen and his puppet Charlie McCarthy
Puppets in the Bread and Puppet Theater Museum in Glover, Vermont, USA
Mallory Lewis and Lamb Chop
Leslie Madeline Fleming and Bleeckie, a character from a series of web videos.
Australia
The Aboriginal peoples of Australia have a long tradition of oral storytelling which goes back many thousands of years. They used masks and other objects to convey deep and meaningful themes about morality and nature. Masks were carved from wood and heavily decorated with paint and feathers.
In Australia in the 1960s, Peter Scriven founded the Marionette Theatre of Australia and staged beautiful marionette productions such as The Tintookies, Little Fella Bindi,[43] The Explorers and The Water Babies.
Phillip Edmiston, who worked alongside Peter Scriven at the Marionette Theatre of Australia, went on to mount in 1977 a lavish marionette production of The Grand Adventure under the umbrella of his own company, Theatrestrings. With 127 marionettes, the A$120,000 production opened in Nambour in the Civic Hall on 28 May 1977 and subsequently toured to Sydney, Melbourne and Brisbane. The musical was composed by Eric Gross with book and lyrics by Hal Saunders. The story broadly told of Captain James Cook's South Sea Island voyage with botanist Joseph Banks on HMS Endeavour. Edmiston went on to tour Queensland throughout the 1980s and 1990s with numerous productions with his new company Queensland Marionette Theatre.[44][45]
Bilbar Puppet Theatre, established by Barbara Turnbull and her husband Bill Turnbull, toured Australia extensively under the auspices of the Queensland Arts Council in the 1970s and 1980s. Their shows included The Lucky Charm, Funnybone, Mozart's opera Bastien and Bastienne, and Lazy Liza. Bilbar Puppet Theatre's puppets are now held at the Queensland Performing Arts Centre, Brisbane. David Poulton toured marionette shows via the Queensland Arts Council along his 'Strings and Things' with his wife Sally for many years from the late 1970s.[46] Gwen and Peter Iliffe also toured with Puppet People. One of their shows was Bees Hey using the music of Bizet. Another successful group were Ehmer Puppets.[47]
David Hamilton, one of the last remaining marionette puppeteers in Australia, tours independently and formerly toured under the auspices of the Queensland Arts Council.[48] Some of his puppets were displayed in a special puppet exhibition mounted at the Queensland Performing Arts Complex in 2018.[49]
Comedian and radio broadcaster Jamie Dunn was famous for his Muppet-style character, Agro, who featured on several Seven Network television programs throughout the 1980s and 1990s.
Formally trained in the United States by puppeteers from the Jim Henson Company, Brett Hansen and his Brisbane-based Larrikin Puppets company[50] is one of only a few Muppet-style puppeteers actively performing in Australia. Cabaret Puppet Theatre, based in Brisbane's Redlands area, also tours with productions for children and adults.[51]
In Melbourne, Handspan Theatre (1977–2002) evolved from humble collective beginnings to a large, design-rich theatre format dubbed 'Visual Theatre', and became a hothouse for innovative projects and multimedia collaborations within Australia and around the world.
A post-graduate course existed at the Victorian College of the Arts, University of Melbourne in the late 1990s, but has since been discontinued.
Australian puppeteer Norman Hetherington was famous for his marionette, Mr. Squiggle, who featured on an Australian Broadcasting Commission television program from 1 July 1959 until 9 July 1999. In every episode he would create several pictures from "squiggles" sent in by children from around the country.
Richard Bradshaw OAM is another famous Australian puppeteer. He is a past president of UNIMA Australia, former artistic director of the Marionette Theatre Company of Australia,[52] and does shadow puppetry and writing in the field.
Rod Hull also made a contribution with his puppet Emu. In the 1960s, Hull presented a children's breakfast television programme in Australia.
Snuff Puppets is one of Australia's modern puppet theatre troupes. Based in Melbourne, their work is full of wild black humour, political and sexual satire, and a handmade aesthetic. Snuff Puppets has performed in over 15 countries, including tours to major festivals in Asia, South America and Europe.
There is an annual winter festival of puppets at the City of Melbourne's ArtPlay and at Federation Square in Melbourne.
In Sydney, Jeral Puppets, founded by John and Jackie Lewis in 1966, regularly performs at Puppeteria Puppet Theatre and on tour.[53]
Spare Parts Puppet Theatre of Fremantle, Western Australia was founded by Peter Wilson,[54] Cathryn Robinson, and Beverley Campbell-Jackson in 1981,[55] as part of an artist-in-residency program initiated by the WA Institute of Technology (now Curtin University of Technology). The company's first project was a puppet adaptation of Christopher Marlowe's Doctor Faustus for the 1981 Festival of Perth.[55]
Era contemporánea
From early in the 19th century, puppetry began to inspire artists from the 'high-art' traditions. In 1810, Heinrich von Kleist wrote an essay 'On the Marionette Theatre', admiring the "lack of self-consciousness" of the puppet. Puppetry developed throughout the 20th century in a variety of ways. Supported by the parallel development of cinema, television and other filmed media it now reaches a larger audience than ever. Another development, starting at the beginning of the century, was the belief that puppet theatre, despite its popular and folk roots, could speak to adult audiences with an adult, and experimental voice, and reinvigorate the high art tradition of actors' theatre.[56]
Sergei Obraztsov explored the concept of kukolnost ('puppetness'), despite Joseph Stalin's insistence on realism. Other pioneers, including Edward Gordon Craig and Erwin Piscator were influenced by puppetry in their crusade to regalvanise the mainstream. Maeterlinck, Shaw, Lorca and others wrote puppet plays, and artists such as Picasso, Jarry, and Léger began to work in theatre.[1] Craig's concept of the "übermarionette"—in which the director treats the actors like objects—has been highly influential on contemporary "object theatre" and "physical theatre".[citation needed] Tadeusz Kantor frequently substituted actors for puppets, or combined the two, and conducted each performance from the edge of the stage, in some ways similar to a puppeteer.
Kantor influenced a new formalist generation of directors such as Richard Foreman and Robert Wilson who were concerned with the 'object' in theatrical terms "putting it on stage and finding different ways of looking at it" (Foreman). Innovatory puppeteers such as Tony Sarg, Waldo Lanchester, John Wright, Bil Baird, Joan Baixas, Sergei Obratsov, Philipe Genty, Peter Schumann, Dattatreya Aralikatte, The Little Players, Jim Henson, Dadi Pudumjee, and Julie Taymor have also continued to develop the forms and content of puppetry, so that the phrase 'puppet theatre' is no longer limited to traditional forms of marionettes, glove, or rod puppets. Directors and companies like Peter Schumann of Bread and Puppet Theatre, Bob Frith of Horse and Bamboo Theatre, and Sandy Speiler of In the Heart of the Beast Puppet and Mask Theatre have also combined mask and puppet theatre where the performer, puppets and objects are integrated within a largely visual theatre world that minimises the use of spoken language.[57]
The Jim Henson Foundation, founded by puppeteer and Muppet creator Jim Henson, is a philanthropic, charitable organization created to promote and develop puppetry in the United States. It has bestowed 440 grants to innovative puppet theatre artists.[58] Puppetry troupes in the early 21st-century such as HomeGrown Theatre in Boise, Idaho continue the avant garde satirical tradition for millennials.[59][60]
Ver también
- Digital puppetry
- Hand puppet
- List of highest grossing puppet films
- Puppet
- Puppeteer
- Russian puppet theater
- Shadow puppetry
- UNIMA – International Puppetry Association
- Ventriloquism
- Wayang
- World Puppetry Day
Notas
- ^ in a performance by the Tonda Puppet Troupe of Nagahama, Shiga, Japan - an example of Japanese bunraku puppetry
Referencias
- ^ a b c d e f g h i j Blumenthal, Eileen, Puppetry and Puppets, Thames & Hudson, 2005. ISBN 978-0-500-51226-5
- ^ a b Strings, Hands, Shadows: A Modern Puppet History, John Bell, Detroit Institute of Art, 2000, ISBN 0-89558-156-6
- ^ a b Dugan, E.A., Emotions in Motion.
- ^ "Puppetry". Encyclopedia Britannica. Retrieved 2019-12-05.
- ^ Herodotus, The Histories, 2.48, on Perseus
- ^ Xenophon, Symposium, 4.55, on Perseus
- ^ Logan, David, Puppetry, p.7
- ^ a b Ghosh, Massey, and Banerjee, page 14
- ^ Ghosh, Massey, and Banerjee, pp.14–15
- ^ Ghosh, Massey, and Banerjee, pages 15–16
- ^ a b c Sang-su, Choe. "A Study of the Korean Puppet Play". p. 43.
- ^ Bell, page 46
- ^ a b https://wepa.unima.org/en/philippines/
- ^ https://www.culturalcenter.gov.ph/press-releases/puppetry-goes-mobile-at-the-ccp-this-august
- ^ https://www.unesco-ichcap.org/the-angonos-higantes-festival-for-san-clemente/
- ^ https://www.straitstimes.com/world/all-dolled-up-as-giant-puppets
- ^ http://ncca.gov.ph/seven-new-national-artists-revealed-and-honored/
- ^ "Centre for Cultural Resources and Training (CCRT)". Ccrtindia.gov.in. Retrieved 2018-01-03.
- ^ Mutlu, Hayali Mustafa, Tradition Folk The Site
- ^ Feeney, John, Saudi Aramco World (article), 1999.
- ^ Floor, Willem, The History of Theater in Iran, ISBN 0-934211-29-9: Mage 2005
- ^ νευρόσπαστος, Henry George Liddell, Robert Scott, A Greek-English Lexicon, on Perseus
- ^ νεῦρον, Henry George Liddell, Robert Scott, A Greek-English Lexicon, on Perseus
- ^ σπάω, Henry George Liddell, Robert Scott, A Greek-English Lexicon, on Perseus
- ^ List of Ancient Greek words related to puppetry, Henry George Liddell, Robert Scott, A Greek-English Lexicon, on Perseus
- ^ Mulholland, John, Practical Puppetry, p.9
- ^ "We've moved". Sagecraft.com.
- ^ a b Binyon, Helen, Puppetry Today, p.11
- ^ Beaton, Mabel & Les, Marionettes: A Hobby for Everyone.
- ^ Suib, Leonard Broadman, Muriel, Marionettes Onstage!, p.ix
- ^ "Collezione Maria Signorelli". Collezionemariasignorelli.it. Retrieved 23 August 2019.
- ^ a b c Binyon, Helen, Puppetry Today, p.36
- ^ Practical Puppetry/John Mullholland, p.10
- ^ Practical Puppetry/John Mulholland, p.9
- ^ The Complete Book of Puppets by David Currell, p. 14
- ^ The Complete Book of Puppet Theatre by David Currell, p.12
- ^ "Über uns | Marionettentheater Schloss Schönbrunn". Marionettentheater.at.
- ^ a b c d e f g h Czech Puppet Theatre by Alice Dubska, Jan Novak, Nina Malikova and Marie Zdenkova, p.6
- ^ Practical Puppetry/John Mulholland, p.19
- ^ Pavel Jirásek, "Josef Skupa: The Birth of a Modern Artist", Theatralia: Revue současného myšlení o divadelní kultuře [Revue of contemporary thought on theatre culture] 18/2 (2015): 174 [168-230]; online at http://cejsh.icm.edu.pl/cejsh/element/bwmeta1.element.99134286-36e9-4d9d-9de7-a0e94e73a9ea
- ^ Puppets in Prague, www.puppetsinprague.eu
- ^ Funni, Arthur, The Radio Years of Bergen and McCarthy (Thesis)
- ^ "Marionette puppet, 'Tintookies Little Fella Bindi', Aboriginal figure, papier mache / wood / cotton / felt / feathers / metal, designed by Colin Garland for the Marionette Theatre of Australia, Sydney, New South Wales, Australia, 1958-1977". Collection.maas.museum.
- ^ "Phillip Edmiston collection". Cabaret Puppet Theatre.
- ^ Queensland Marionettes on Tour, Theatre Australia – April 1982, p.6
- ^ "Stutter leads to lifetime with puppets", Sunshine Coast Daily, 10 August 2013
- ^ Uhlmann, L., "Bernie Ehmer's Backyard Shed", Redland City Bulletin, 6 June 2013
- ^ Straker, L., "Puppets and Purchases", ABC Radio Brisbane, 20 January 2010
- ^ "Puppet People | Tony Gould Gallery, QPAC". Qpac.com.au.
- ^ "Larrikin Puppets - Puppet Show | Children's Entertainer | Kids Entertainment". Larrikin Puppets - Puppet Show | Kids Entertainment | Children’s Entertainer | Event Entertainment | Corporate Entertainment.
- ^ "Cabaret Puppet Theatre". Cabaret Puppet Theatre.
- ^ The Complete Book of Puppet Theatre by David Currell, p.50
- ^ "Home". Puppeteria.com. Retrieved 23 August 2019.
- ^ Rubin, Don (1998). The World Encyclopedia of Contemporary Theatre: Asia. 5. Taylor & Francis. p. 84. ISBN 978-0-415-05933-6.
- ^ a b Milne, Geoffery (2004). Theatre Australia (un)limited: Australian theatre since the 1950s. Rodopi. p. 358. ISBN 90-420-0930-6.
- ^ Strings, Hands, Shadows: A Modern Puppet History/John Bell/Chapter 6/Detroit Institute of Art/2000 ISBN 0-89558-156-6
- ^ Experimental Theatre, from Stanislavsky to Peter Brook/James Roose-Evans, 1970 Studio Vista ISBN 0-415-00963-4
- ^ "Home". Hensonfoundation.org.
- ^ Berry, Harrison (2017-12-12). "Horrific Puppet Affair Finds Humor in the Space Between Halloween and Christmas". Boise Weekly. Archived from the original on 2017-12-13. Retrieved 2017-12-12.
- ^ Burton, Brooke (2017-12-20). "Puppetry, Pantomime, & Projections: HomeGrown Theatre's Shortcut to Spectacle". Boise City Department of Arts & History. Retrieved 2017-12-20.
Libros y articulos
- Baird, Bil (1966). The Art of the Puppet. Plays. ISBN 0-8238-0067-9.
- Beaton, Mabel; Les Beaton (1948). Marionettes: A Hobby for Everyone. New York.
- Bell, John (2000). Shadows: A Modern Puppet History. Detroit, USA: Detroit Institute of Art. ISBN 0-89558-156-6.
- Binyon, Helen (1966). Puppetry Today. London: Studio Vista Limited.
- Choe, Sang-su (1961). A Study of the Korean Puppet Play. The Korean Books Publishing Company Ltd.
- Currell, David (1992). An Introduction to Puppets and Puppetmaking. London: New Burlington Books, Quintet Publishing Limited. ISBN 1-85348-389-3.
- Dubska, Alice; Jan Novak; Nina Malikova; Marie Zdenkova (2006). Czech Puppet Theatre. Prague: Theatre Institute. ISBN 80-7008-199-6.
- Dugan, E.A. (1990). Emotions in Motion. Montreal, Canada: Galerie Amrad. ISBN 0-9693081-5-9.
- Feeney, John (1999). Puppet. Saudi Aramco World.
- Funni, Arthur (2000). The Radio Years of Bergen and McCarthy (Thesis). The Margaret Herrick Library.
- Hayali, Mustafa Mutlu. Tradition Folk The Site. Ankara, Turkey: Theatre Department, Ankara University Faculty of Language, History and Geography.
- Latshaw, George (2000). The Complete Book of Puppetry. London: Dover Publications. ISBN 978-0-486-40952-8.
- Lindsay, Hilarie (1976). The First Puppet Book. Leichhardt, NSW, Australia: Ansay Pty Ltd. ISBN 0909245061.
- Logan, David (2007). Puppetry. Brisbane, QLD, Australia: Brisbane Dramatic Arts Co. ISBN 978-0-9804563-0-1.
- Robinson, Stuart; Patricia Robertson (1967). Exploring Puppetry. London: Mills & Boon Limited.
- Sinclair, Anita (1995). The Puppetry Handbook. Richmond, Victoria, Australia: Richard Lee Publishing. ISBN 0-646-39063-5.
- Suib, Leonard; Muriel Broadman (1975). Marionettes Onstage!. New York: Harper & Row, Publishers. ISBN 0-06-014166-2.
- Vella, Maeve; Helen Rickards (1989). Theatre of the Impossible: puppet theatre in Australia. Roseville, N.S.W: Craftsman's House. ISBN 0-947131-21-3.
- "Wayland Flowers Dies: Ventriloquist Was 48". The New York Times. October 12, 1988. Retrieved 2006-12-30.
enlaces externos
- The Center for Puppetry Arts – Puppetry Museum and Theater in Atlanta, GA, US.
- The Puppetry Homepage – Contains links and information about all types of puppets and puppetry.
- Union Internationale de la Marionnette – International organization of puppeteers and puppet enthusiasts
- Puppet Notebook- Articles on puppet history, theory and contemporary international puppetry in magazine published by British UNIMA.
- Puppets in Prague – Traditional Czech marionette making workshops conducted by Mirek Tretjnar, master puppeteer
- British Puppet and Model Theatre Guild – Puppet collection and information and regular articles on puppets and puppetry publishing hard copy and online journal
- Cabaret Puppet Theatre – Information on puppet making workshops in Australia conducted by David Logan, master puppeteer
- Marguerite G. Bagshaw Collection – Research collection of puppetry resources, part of Toronto Public Library