CHAPTER IV

Producing Human Shadow Plays

Did you ever feel about your shadow as Robert Louis Stevenson did, when he wrote:

“I have a little shadow, That goes in and out with me, And what can be the use of him, Is more than I can see.”

If you ever took part in a shadow game, you discovered many surprising uses for your shadow. You may remember how you stretched a sheet in a doorway and played the game of guessing silhouettes. This was highly entertaining, and somewhat difficult when familiar faces were disguised by unusual noses and chins. Then there were the shadow charades and the game of guessing book titles.

If you wish to give a shadow play with scenery and several actors performing at one time, then a large shadow screen becomes necessary. This can be made from 2-inch strips of wood, strengthened in the corners as shown in the illustration. The size of this screen will be determined by the width of the sheeting which is to cover it. The screen used at the Cleveland Museum of Art for the shadow plays _The Indian and the Oki_ and _The Shepherdess_ was 7¼ feet high by 12 feet long, and was covered with sheeting 90 inches in width. Great care was used in the stretching of the sheet. The tacks were placed about two inches apart.

The reason for choosing _The Indian and the Oki_ for a shadow play was that it had action and characters that were very individual, such as would be easily recognized when they fell on the shadow screen. Another reason for choosing this story was that its scenery could be suggested by silhouettes. The group of boys and girls who gave this play selected important incidents of the story and re-arranged them and added incidents wherever they found it necessary. The following twelve incidents made up the first act:

1. Rabbit wiggles ears, hops across stage.

2. Sparrows scrap upon rock, first gently, growing furious.

3. Eagle swoops across and down upon rock; birds leave.

4. Wild cat moves slightly, winks eye, raises tail, arches back ready for spring as

5. Scandawatti peeps from rock, then disappears, then Indian lad appears, with bow and arrow and shoots at wild cat, hits bear.

[Illustration:

_Scenes from the human shadow play, "The Indian and the Oki"_ ]

6. Bear bounds forward, pulls out arrow from shoulder with teeth, eyes flash, rushes forward as lad attempts to climb rock, misses hold at top, slips, almost falls backward, bear ready to pounce.

7. Achilles appears at right side, shoots quickly, bear rolls over, Scandawatti leaps to feet, looks in surprise from bear to Achilles, comes forward, examines gun.

8. Chief enters from right slowly, approaches boys, lad tells him of escape.

9. French trapper enters from left, approaches, lays hand on Achilles, hears story. Scandawatti leads way to Chief Iliol. Trapper gives pistols to both boys who admire them. Chief nods satisfaction. Both trapper and chief leave together to right.

10. Boys examine, admire, and handle pistols.

11. Red Deer sneaks from behind rock and looks jealously at weapons, moves hands and body as if eager to possess prize, disappears.

12. Curtain closes as lads pledge friendship and prepare to leave.

The incidents chosen for the second act were:

1. Squaw stirs stew in the kettle that hangs over the fire.

2. Trapper and Chief Iliol enter and sit down. Squaw brings the pipe of peace. They smoke.

3. An indian enters and dances to the tomtoms. The trapper, chief, and dancer leave.

4. Scandawatti enters with a basket full of fish and Achilles with a game bag full of rabbits and ducks. They give these to the squaw.

5. Scandawatti and Achilles sit on the ground and play with their pistols.

6. Red Deer peers from behind bushes.

7. Squaw gives each boy a bowl of the stew. They eat greedily.

8. Boys undo bundle in which there are knives and beads. Achilles holds up the Oki or false face.

9. Scandawatti, alarmed, jumps up and runs. Achilles runs after him, carrying the Oki.

10. Red Deer enters, stealthily, and reaches for the pistols.

11. Achilles lifts up the Oki from behind a rock. Red Deer drops the pistols and flees.

12. Scandawatti and Achilles enter laughing, pick up weapons, wrap themselves in blankets, and lie down to sleep.

For the third act they chose the following:

1. A turkey runs across the stage.

2. Red Deer follows with Scandawatti. He binds him to a tree, then runs after the turkey.

3. Red Deer returns with dead turkey. Builds a fire and places the turkey over it.

4. Red Deer dances about, mocking Scandawatti.

5. Achilles peeks from behind rock. Motions to Scandawatti to have courage. Then sticks up the Oki and waves it about in the air.

6. Red Deer flies in terror.

7. Achilles frees Scandawatti.

8. They devour the turkey.

9. The trapper and Indian chief appear and all rejoice.

Shadow plays require just as careful character analysis as any other kind of play. Here is the character analysis.

Scandawatti, brave, loyal, fun loving.

Achilles, courageous, loyal, resourceful.

Red Deer, treacherous and superstitious.

Chief Iliol, trustworthy and dignified.

Squaw, stolid and good-natured.

Trapper, just and reliable.

Dancer, lively.

The story included the bear and turkey, the rabbit, wild cat, hawk and birds were added for the sake of the picture. The illustrations show how the turkey, wild cat, and birds were made.

The scenery consisted of tree trunks, branches, and a big rock cut from beaver board, and foliage, flowers, and grasses cut from light-weight bristol board.

The properties needed were a tripod and a kettle, a stick for the fire, a basket of corn, bowls and a ladle, pistols, strings of beads, a game bag filled with paper game, a fish basket filled with paper fish, bow and arrow, gun, rope, two blankets, and a peace pipe.

The costuming of a shadow play is quite a different problem from the costuming of any other kind of play. A costume may look quite right to the eye and yet be ineffective as a shadow. It requires ingenuity and much experimenting to produce satisfactory silhouettes. Scandawatti, Red Deer, and the dancer wore loin cloths, head band, and feathers. The Indian chief wore headdress and blanket. The squaw wore a fringed curtain, head band, and beads. The trapper and Achilles wore trappers’ costumes and coon-skin caps. A boy took the part of the bear in a bear costume made from outing flannel.

[Illustration: [Cut-outs]]

The profiles of the children were not in the least Indianlike. It was necessary to provide them with characteristic Indian noses and this was done by glueing on flat cut-out paper noses.

The producing of a shadow play requires a director and two assistants, as well as the group of actors. The director is responsible for the production of the play which will probably require five or six rehearsals. During the first rehearsal he stays behind the screen, working out with the group each incident of the play. He and the group decide upon the entrances, positions on the bridge, the exits, and those who are to manipulate the shadow animals receive their instructions. The reader should be present at the first rehearsal, in order to observe the development of the play. At this rehearsal the actors need not be in costume. Each actor begins by interpreting his part as he feels it should be done. The Director should inspire and encourage his actors to do their best and guard against being too critical at this time, since everyone is feeling his way—becoming familiar with properties, and with this new kind of acting in one plane.

It was in the first rehearsal of _The Indian and the Oki_ that the boy who took the part of Scandawatti discovered, as he was trying to escape from the bear, that it would look more natural if he got out of the bear’s reach by climbing the rock, rather than by dodging behind it. When a stepladder was placed behind the beaver-board rock, the boy, after much practice, was able to make it appear to the audience that he was really climbing the rock. He was finally able to give a little slip as he reached the top, just as the bear was about to overtake him. This gave a real thrill to the young spectators.

At the second rehearsal the Director takes his position in front of the screen. He watches every movement and gesture of the actors. He guides the actors who cannot see their shadows, because they are so close to the screen. If he understands pattern and rhythm he can direct their movements so that every movement of the shadow play will be beautiful. The reader begins his part at the second rehearsal. He can give an introduction and carry the story on between the acts, or he can read as the play is being given. The reader may be a girl or a boy and should be chosen for a rich, well-modulated voice, dramatic sense, and ability to enunciate distinctly. The reader should be appropriately costumed.

Introducing a dancer in a shadow play presents a problem. In the second scene of _The Indian and the Oki_ you can see in the illustration how the height, and bulk, and dignity of the Indian chief on the left and the curved line of the trapper’s body on the right were used to frame the space for the rhythmic movements of the dancer. The dancer also had his problems. The first was that of keeping a characteristic Indian silhouette on the screen at all times. The second problem was that of varying his movements to show his veneration for his chief and his adoration for the Great Spirit. The beating of the tomtom gave the tempo for the steps of his dance. A teacher who understood folk dancing coached the boy who took this part outside of the regular rehearsals, so that he might gain confidence and skill.

[Illustration:

_More scenes from the human shadow play, "The Indian and the Oki."_ ]

By the fourth or fifth rehearsal, if the actors can interpret their part naturally and convincingly, they will be ready to put on their costumes. Here many surprises await them. As an illustration of this the shepherdess in the play by that name made, for herself, a very correct little bodice. When she appeared on the shadow screen her silhouette was very disappointing. In order to give the right effect, a short length of cheesecloth was slashed six or seven times at the ends, and then drawn tightly around her, and the slashed ends were tied together down the front. You can see her in the illustration, as she kneels on the bridge manipulating one of the fighting sparrows in the first scene of _The Indian and the Oki_. The long heavy braids of this shepherdess were made of yarn.

Any ordinary lantern or an electric light with a reflector may be used for lighting the screen. A screen 7 by 12 feet will require a 400-watt light placed about eighteen feet behind it. If you have very little space behind your screen, your lantern may throw a large disk of light. You can avoid this disk by fastening to the front of the lantern a piece of asbestos with an opening cut to the same proportions as the screen.

There are many possibilities of using color in a shadow play. A safe rule to follow is either to use color throughout a play or not to use color at all. A sheet of colored gelatine placed in front of the light will diffuse color over the entire screen. The time of day can be suggested by color: pink for early morning, yellow for noon, yellow-orange for the late afternoon, blue or blue-green for night.

In the second scene of _The Indian and the Oki_, yellow-orange gelatine was used to indicate the late summer afternoon. Under the cardboard kettle a red bulb, partly concealed by sticks and twigs, suggested fire.

The depths of the sea can be suggested by covering the light with green gelatine and using cut-out shells, seaweeds, and water plants as scenery. Water sprites and fanciful sea creatures would be at home in such a setting.

Music is a beautiful accompaniment for shadow plays, especially for Christmas and Easter celebrations. Imagine a shadow play in six scenes built about the Nativity according to the gospels of St. Matthew and St. Luke.

_Scene I—The Annunciation_

“The angel Gabriel was sent from God unto a city of Galilee, named Nazareth, to a virgin espoused to a man whose name was Joseph, of the house of David; and the virgin’s name was Mary. And the angel came in unto her, and said, ‘Hail, thou that art highly favored, the Lord is with thee; blessed art thou among women.’” (St. Luke, I: 26, 27, 28.)

_Scene II—The Angel and the Shepherds_

“And there were in the same country, shepherds abiding in the field, keeping watch over their flocks by night. And, lo, the angel of the Lord came upon them, and the glory of the Lord shone round about them: and they were sore afraid. And the angel said unto them, ‘Fear not, for behold, I bring you good tidings of great joy, which shall be to all people. For unto you is born this day in the city of David, a Saviour, which is Christ the Lord. And this shall be a sign unto you; Ye shall find the babe wrapped in swaddling clothes, lying in a manger.’ And suddenly there was with the angel a multitude of the heavenly host praising God, and saying, ‘Glory to God in the highest, and on earth, peace and good will toward men.’ And it came to pass, as the angels were gone away from them into heaven, the shepherds said to one another, ‘Let us now go even unto Bethlehem, and see this thing which is come to pass, which the Lord hath made known unto us.’” (St. Luke, II: 3–16.)

_Scene III—The Adoration of the Shepherds_

“The Shepherds came with haste, and found Mary, and Joseph, and the babe lying in a manger.” (St. Luke, II: 17.)

_Scene IV—The Coming of the Wise Men_

“Now when Jesus was born in Bethlehem of Judea in the days of Herod the king, behold, there came wise men from the east to Jerusalem, saying, ‘Where is he that is born King of the Jews? For we have seen his star in the east and are come to worship him.’” (St. Matthew, II: 1, 3.)

_Scene V—Simeon and the Young Child_

“And behold there was a man in Jerusalem, whose name was Simeon; and the same man was just and devout, waiting for the consolation of Israel: and the Holy Ghost was upon him, and it was revealed unto him by the Holy Ghost that he should not see death before he had seen the Lord’s Christ. And he came by Spirit into the Temple: and when the parents brought the Child Jesus, to do for him after the custom of the law, then took he him up in his arms, and blessed God, and said, ‘Lord, now lettest thou thy servant depart in peace, according to thy word: for mine eyes have seen thy salvation, which thou hast prepared before the face of all peoples: a light to lighten the Gentiles and the glory of thy people Israel.’” (St. Luke, II: 25, 33.)

_Scene VI—The Flight into Egypt_

“And the angel of the Lord appeared to Joseph in a dream, saying, ‘Arise, and take the young Child and his mother, and flee into Egypt, and be thou there until I bring thee word: for Herod will seek the young Child to destroy him.’ When he arose he took the young Child and his mother by night, and departed into Egypt, and was there until the death of Herod; that it might be fulfilled which was spoken of the Lord by the prophet, saying, ‘Out of Egypt have I called my son.’” (St. Matthew, II: 13, 11.)

These incidents, so simple, vivid, and beautiful when reverently interpreted as shadow plays, seem to carry something of the age-old mystery of the shadow.

[Illustration:

_Scenes from the human shadow play, "The Shepherdess."_ ]

In the East, shadow plays are an intimate part of the everyday life of the people. In the Western world they have, so far, meant very little. European artists have already discovered their possibilities and are even carrying the shadow into the world of the movie, revealing new fields as a challenge to our creative efforts.

[Illustration: [Fish]]

BIBLIOGRAPHY

A LIST OF BOOKS SUGGESTED FOR THE MAKING OF MARIONETTE PLAYS PAGE Humorous Tales 245 Heroic Tales 246 Tales of Adventure 247 Fairy Tales 248 Unclassified 249 A SHORT LIST OF REFERENCE BOOKS ON COSTUME 253 A SHORT LIST OF BOOKS ON MARIONETTES 257 A SHORT LIST OF BOOKS THAT CONTAIN INFORMATION ON THE MASK AND SHADOWS The Mask 261 Shadows 262

LIST OF BOOKS SUGGESTED FOR THE MAKING OF MARIONETTE PLAYS

HUMOROUS TALES

_Alice’s Adventures in Wonderland_, by Carroll. Macmillan

_Gulliver’s Travels_, by Swift. Macmillan

_Don Quixote_, by Cervantes. Dodd

_Peter and Wendy_, by Barrie. Scribner

_Just-So Stories_, by Kipling. Doubleday

_Uncle Remus_, by Harris. Appleton

_Tom Sawyer_, by Clemens. Harper

_Alice, Through the Looking Glass_, by Carroll. Macmillan

_Pinocchio, the Story of a Marionette_, by Lorenzini. Ginn

_Midsummer Night’s Dream_, by Shakespeare. Edited by Rolfe, Am. Book Co., Hudson, Ginn

_Rip Van Winkle_, by Irving. Macmillan

_Arabian Nights_, by Colum. Macmillan

_Rose and the Ring_, by Thackeray, Stokes. Macmillan

_Wind in the Willows_, by Grahame. Scribner

_Tales of Laughter_, by Wiggin and Smith. Doubleday

HEROIC TALES

_Sohrab and Rustum_, by Arnold. Houghton

_The Boys’ Iliad_, by Perry. Macmillan

_The Boys’ Odyssey_, by Perry. Macmillan

_Robin Hood_, by Pyle. Scribner

_The Tales of Troy and Greece_, by Lang. Longmans

_The Story of Roland_, by Baldwin. Scribner

_Brave Beowulf_, Ed. Cartwright. Dutton

_Joan of Arc_, by Boutet de Monvel. Century

_Ivanhoe_, by Scott. Houghton

_Daniel Boone_, by White. Doubleday

_Britain Long Ago_, by Wilmot-Buxton. London: Harrap

_The Book of King Arthur and his Noble Knights_, by Macleod. Stokes

_The Adventures of Ulysses_, by Lamb. Ginn

_The Story of the Cid_, Ed. by Wilson. Lothrop

_Stories of Charlemagne_, by Church. Macmillan

_Seven Champions of Christendom_, by Cartwright. Dutton

_Story of Sigurd_, the Volsung, by Morris. Longmans

_Robinson Crusoe_, by Defoe. Harper, Houghton

_Norse Stories Retold_, by Mabie. Rand

TALES OF ADVENTURE

_The Boy’s Percy_, by Lanier. Scribner

_The Black Arrow_, By Stevenson. Scribner

_William Tell_, by Schmidt & Marshall. McClurg, Dutton

_Treasure Island_, by Stevenson. Scribner

_Men of Iron_, by Pyle. Harper

_Wonder Book_, by Hawthorne. Houghton

_Otto of the Silver Hand_, by Pyle. Scribner

_The Boy’s Froissart_, Ed. by Lanier. Scribner

_Tales from the Alhambra_, by Irving. Houghton

_Story of the Canterbury Pilgrims_, retold by Darton, by Chaucer. Stokes

_The Lance of Kanana_, by French. Lathrop

_Spurs of Gold_, by Greene. Little

_The Golden Perch_, by Hutchinson. Longmans

_Captains Courageous_, by Kipling. Doubleday

_Book of Bravery_, by Lanier. Scribner

_The Last of the Mohicans_, by Cooper. Holt

FAIRY TALES

_Hans Christian Andersen_, Tr. by Mrs. E. Lucas. Dutton

_The Brothers Grimm_, Tr. by Lucy Crane. Macmillan

_The Wonderful Adventures of Nils_, by Lagerlöf. Doubleday

_The Blue Bird_, by Maeterlinck. Dodd

_Water Babies_, by Kingsley. Houghton

_The Little Lame Prince_, by Craik. Lippincott

_Old Peter’s Russian Tales_, by Ransome. Rand, McNally

_Japanese Fairy Book_, by Ozaki. Dutton

_Æsop’s Fables_, Ed. by Jacobs. Macmillan

_Undine_, by LaMotte Fouqué. Doubleday

_Story of the Rheingold_, by Chapin. Harper

UNCLASSIFIED

_Little Women_, by Alcott. Little

_Bird’s Christmas Carol_, by Wiggin. Houghton

_Rip Van Winkle_, by Irving. Macmillan

_Oliver Twist_, by Dickens. Scribner

_Prince and the Pauper_, by Clemens. Macmillan

_The Christmas Carol_, by Dickens. Macmillan

_Heidi_, by Spyri. Ginn. Houghton

_Cricket on the Hearth_, by Dickens. Rand

_David Copperfield_, by Dickens. Scribner

_The Tempest_, by Shakespeare, Ed. Rolfe. Amer. Bk. Co., Hudson, Ginn

_The Merchant of Venice_, by Shakespeare, Ed. Rolfe. Amer. Bk. Co., Hudson, Ginn

_King of the Golden River_, by Ruskin. Page

_Master Skylark_, by Bennett. Century

_Gabriel and His Hour Book_, by Stein. Page

_The Piper_, by Peabody. Houghton

_Evangeline_, by Longfellow. Houghton

_Story Telling Ballads_, by Olcott. Houghton

_Hiawatha_, by Longfellow. Houghton

_Lady of the Lake_, by Scott. Houghton

_Lays of Ancient Rome_, by Macaulay. Houghton

_The Piper of Hamelin_, by Browning. Rand

A SHORT LIST OF REFERENCE BOOKS ON COSTUME

_The Heritage of Dress_, by Webb. London, E. Grant Richards

_A Study of Costume_, by Sage. Scribner

_Chats on Costume_, by Rhead. Stokes

_Dress Design_, by Hughes. Macmillan

_Greek Dress_, by Abrahams. London, John Murray

_British Costume During 19 Centuries_, by Ashdown. Edinburgh, T. C. & E. C. Jack

_The History of Fashion in France_, Tr. by Mrs. Hoey & M. Lillie. London, Scribner and Wetford

_Costuming a Play_, by Elizabeth Grimball & Rhea Wells. Century

_Historic Dress in America_, by McClellan. Jacobs

_The Encyclopædia Britannica_

A SHORT LIST OF BOOKS ON MARIONETTES

_Heroes of the Puppet Stage_, by Anderson. Harcourt

_The Book of Marionettes_, by Joseph. Huebsch

_The Tony Sarg Marionette Book_, McIsaacs. Greenburg

_The Mask_—Vols. I-VIII, by Craig

_The Marionette_, by Craig

There are also many excellent books on the subject of Marionettes in French, German, and Italian. These are very exhaustive studies, fully illustrated, that will repay investigation.

A SHORT LIST OF BOOKS THAT CONTAIN INFORMATION ON THE MASK AND SHADOWS

THE MASK

_Masks and Demons_, by Macgowan & Rosse. Harcourt

_The Golden Bough_, by Frazer. Macmillan

_History of the Harlequinade_, by Sand. Lippincott

_Clowns_, by Disher. Constable

_Manners, Customs & Dress of the Middle Ages_, by LaCroix. Appleton

_The Theater of the Greek_, by Donaldson. Macmillan

_The Greek Theater_, by Flickinger. University of Chicago

_History of Classical Greek Literature_, by Mahaffy. Macmillan

_Noh_, by Fenelossa & Pound. Knopf

_Field Museum Guide_—Part I, by Laufer. Field Museum

_The NO Plays of Old Japan_, by Stopes. Dutton

_The NO Plays of Japan_, by Waley. Knopf

_Medicine-Men of the Apache_, by Bourke

_9th Annual Report, U. S. Bureau of American Ethnology_

_Tusayan Katcinas_, by Fewkes

_15th Annual Report, U. S. Bureau of American Ethnology_

_The Point Barrow Eskimo_, by Murdoch

_9th Annual Report, U. S. Bureau of American Ethnology_

There are several excellent books on Masks in French, German, and Italian

SHADOWS

_The Golden Bough_, by Frazer. Macmillan

_Field Museum Guide_, by Laufer. Field Museum

_The Book of Marionettes_, by Joseph. Viking Press

_A Book about the Theater_, by Mathews. Viking Press

_Masks and Demons_, by Macgowan and Rosse. Harcourt

Very important work in this field has been done by the German writers, Georg Jacob, Otto Höver, Wilhelm Grube, and Hellmut Ritter.

INDEX

African Masks, 144

_Alice in Wonderland_, Marionette Play, 35–36

Angelo, Michael, 28

American Puppets, 22

Animal: Burattini, 57 Marionettes, 80–83 Masks, 144, 146, 149 Shadows, 218, 219, 220, 230

Anderson, Madge, 23

Antiquity of Marionettes, 1 Masks, 143 Shadows, 203

Anvil, A puppet property, 104

Antiochus, King of Syria, 9

Archimedes, 7, 25

Arms, for Marionettes, 72

Arlequino, 12, 13

Aztec Masks, 146

Athens, 7

Attaching head of Marionette, 74

Austria, 21

Backgrounds, 75

Ballet, Marionette, 125, 127

Bear, Marionette, 81

Behavior behind the Scenes, 137–138

Benda, W. T., 151

Bergamo, 12

Bible Costumes, 171

Bibliography, 241 Marionettes, 245 Masks, 261 Shadows, 262 Costume Books, 253

Bishops’ Costume, 179

Body, of Burattini, 56 Marionette, 70

Bohemia, 22

Brazier, a puppet property, 111

Brazilian Masks, 146

Briocchi, Giovanni & Francesco, 15

Bronze Masks, 144

Browne, Mrs. Maurice, 23

Brushes, use and care of, 96

Burato cloth, 12

Burattini, description of, 8, 12, 52

Burma, 3

Burmese Masks, 148

Castles, for Marionette stage, 84–85

Catacombs, puppets found in, 9

Caterpillar Marionette, 83, 110

Cavalier costume, 188

Cervantes, 27

Character, study of, 63–64

Character Masks, 161, 166

China, 1, 4

Chinese Masks, 147–148

Christians, Their use of puppets, 9

Christmas Masks, 153–159

Christmas Shadow play, 234–236

Churches, use of puppets in, 10, 11

Color Mixing, suggestions for, 93–95

Colonial Costume, 191

Columbine, 198

Columbus, 187

Commedia dell’arte, 150, 151, 198

Construction of Marionette, 52–83 Masks, 160–164 Puppet Stages, 47–50 Marionette properties, 101–111 Marionette scenery, 84–100 Shadow figures, 219–221, 230 Shadow standard, 216

Controllers, 59–60, 79

Copper Masks, 144

Costume, Imaginative, 169 Period, 169 Indian, 170 Bible, 171 Egyptian, 172, 173 Cretan, 174 Greek, 175–176 Roman, 177 Early Church, 178–179 Crusader, 180–181 Twelfth Century, 182 Thirteenth Century, 184 Fifteenth Century, 185 Sixteenth Century, 186–187 Seventeenth Century, cavalier, 188–189 Seventeenth Century, pilgrim, 189 Eighteenth Century, French, 190 Eighteenth Century, Colonial, 191

Costuming Marionettes, 76

Costume materials, 191–193

Craig, Gordon, 32

Cretan costume, 174

Crusaders’ enjoy religious puppet plays, 10

Crusaders’ costume, 180–181

Curtains, material, dyeing & making of, 99–101

Cyrano de Bergerac, 17

Dancing, for Marionettes, 124 for the Mask, 201

_David Copperfield_, Marionette play, 42–44, 107

Dilley, Perry, 23

Dionysus, 149

Dolls, 1, 3, Wooden dolls, 13 Dolls into Marionettes, 58 Dolls’ heads for Burattini, 53

_Don Quixote_, 18, 27

Doré, Gustave, 28

Dove Marionette, 82

Duncan, William, 23

Dyeing, of materials, 99–100

Early Church costumes, 178–179

Eighteenth Century French costumes, 190

Egypt, 1

Egyptian Costumes, 172–173

Egyptian Masks, 148

Electrician, 136

Empress Marie, 9

Emperor Charles V of Spain, 18–26

England, 12, 18

Ephesus, 7

Eskimo masks, 144

Europe, 10–22

_Every Man in his Humor_, Marionette play, 27

Fair of St. Bartholomew, 18

Fantoccini, description of, 9

Fashion puppet, _Lady Jane_, 19

Fagotin, the Trained Monkey, 16–17

Fifteenth Century costume, 185

Florence, 11

Fontaine, Jean de la, 28

Fountain, construction of, 109

France, 12, 15

France, Anatole, 28

French Revolution, puppets beheaded, 17

Germany, 12, 21

Gesso, making of, 108

Goethe, Johann Wolfgang von, 29–31

Gold, puppets of, 3

Goldoni, Carlo, 28

Greece, 1, 7

Greek costumes, 175–176

Greek masks, 149, 196

Guignol, description of, 52

Hair for Marionettes, 54

Hallowe’en, masks for, 151, 152

Hands, for Burattini, 53 Marionettes, 71

Hans Wurst, German puppet character, 12

Harlequin, clown, 198

Haydn, Joseph, 21

Heads, Muslin, 52 dolls’, 53 wooden, 53–54 modelling of, 62, 65, 66 papier-mâché, 67–68

Holland, 12

Homer, 8

Hopi Indians, 23, 146

Horse Marionette, 81

Hungary, 22

Idols, articulated, 2, 144

Iliad, stories from, 8

Imaginative costumes, 169

India, 2, 3

Indian costumes, 170

Indian masks, 145

Inspector of the strings, 136

Italy, 12

Ivory Marionettes, 1

Ivory masks, 144

Japan, 1, 6

Japanese masks, 148

Java, 1

Javanese masks, 148

Jean Pickel Herring, a Dutch puppet, 12

Jerusalem, puppets in, 10

Jongleurs, French Traveling Minstrels, 197

Joseph, Helen Haiman, 23

_Julius Cæsar_, Marionette play, 27

Karagheuz, Turkish puppet hero, 210

Kaspare, German puppet character, 12

Khayyam, Omar, 209

Lantern, Marionette property, 111

Legs and feet for Marionette, 72

Lighting, chart for, 117 dimmer for, 118 shadow play, 222, 233

Louis XIV, King of France, 27

Mabley, Edward, 23

Maeterlinck, Maurice, 28

Making a mold for Marionette head, 66

Making shadow plays, 212–214

March hare Marionette, 82, 83

Mardi Gras, Festival of, 151

Marionettes, origin of name, 12, 14

Marionettes, Burattini, or guignol, 52–57 Doll, 58–60 Stocking, 60–62 Real Marionette, 62–83

Masks, Primitive man, 143 African, 144 Eskimo, 144 Indian, California, 145 Indian, Hopi, 146 Indian, Zuni, 146 Aztec, 146 Brazilian, 146 Chinese, 147–148 Siamese, 148 Burmese, 148 Javanese, 148 Ceylonese, 148 Japanese, 148 Egyptian, 148 Mycenean, 149 Animal, 146–149 Roman, 149 Medieval, 150 Commedia dell’Arte, 151

Materials for properties, 106 for animals, 183 for costumes, 191–193

Mechanism, for Marionettes, 52–83

Medieval masks, 150

Medici, Lorenzo de’, 28

_Men of Iron_, Marionette play, 37–41, 84, 90, 103

Messer Pantaleone, Italian puppet character, 12

_Midsummer Night’s Dream_, Marionette play, 27

Miracle plays, given by Marionettes, 11

Mister Punch, English puppet character, 12

Modeling, puppet heads, 62–65 masks, 162

Mold, for puppet head, 66

Molière, French Dramatist, 68

Monk’s costume, 179

Movable jaw of Marionette, 69

Munich, puppet theater in, 21

Muslin head for Burattini, 52

Mycenean masks, 149

Mystery plays, 12

Nun’s costume, 179

Odyssey, Marionette plays from, 8

Ogotai, Persian Emperor, 5

Ornaments for Costume, 192–193

Osiris, Egyptian god, 2

Painting, Marionette face, hands, 44, 45

Painting masks, 165

Pantalone, Italian puppet character, 198

Pantomime, Art of, 196–202

Papa Schmidt, German puppet maker, 21

Paper-bag mask, 160

Papier-mâché, marionette head, 67, 68

Papier-mâché mask, 194

Paste, flour, 67

Parvati, Indian goddess, 3

Persia, Puppets in, 1, 5

Period costumes, 169

Petrouchka, Ballet of, 125–127

Pilgrim costume, 189

Ping, City of, 4

Plato, 25

Plaster of Paris, How to use, 66

Plays, Japanese, 7

Plays suited, to puppets, 33 to shadow cut-outs, 212 to human shadows, 226, 234

Poland, 22

Polichinello, 12

Powell, Mr., English puppet showman, 19

Presenting a play, 135

Properties for: Marionette plays, 101–111 Mask, 194–195

Property man, 135

Prompter, 136

Proscenium, 99

Pulcinella, French puppet character, 198

Punch, English puppet character, 20

Reader, shadow play, 223, 231, 232

Rehearsals of: Marionette play, 118–134 Shadow play, 231, 232

Religious plays, Marionettes in, 10 Shadow plays, 234–236

Research, properties, 102–105

Richard, the Lion-Hearted, 180

Rome, 1, 8

Roman costumes, 179

Roman masks, 149

Rousseau, 28

Russia, 21

Saladin, 27

Sand, George, 27

Sand, Maurice, 27

Sarg, Tony, 23

Savonarola, 11

Scale, Importance of, 58

Scaramuccia, Italian puppet character, 12

Scenery: Castles in _Men of Iron_, 84 Requirements and planning of, 85–93 Materials for, 92 Color mixing for, 94 Brushes for painting, 96

Scenery, shadow play, 222, 229

Screen, for Human Shadows, 226

Searle, Mr. Mathew, 23

Seventeenth century costume, 188–189

Shadows, 3, 205, 237

Shadow superstitions: Nyas, 205 Wetar, 206 Ollowa Indians, 206 Malay, 206 India, 206 Africa, 206 S. E. Europe, 206–207

Shadow figures, construction of, 218–221

Shadow figures, manipulation of, 223

Shakespeare, 27

Siam, 3

Siamese masks, 148

Simmonds, Mr. William, 21

Singhalese masks, 148

Siva, Indian God, 3

Sixteenth-century costume, 186–187

Smoke, how to make, 109–110

Socrates, 25

Spain, 18

Stage picture, 130–131

Stages: Egyptian puppet stage, 2 Wooden stages, 10 Marionette stages, 47–51

Standards for shadow play, 216

Stanislavsky, Constantin, 30, 31

Staples, for Marionette construction, 61

Statues, articulated, 1, 2

Stevenson, Robert Louis, 225

Stocking Marionettes, 60, 61

Strings, 1, 59, 79, 80

Syracuse, 7

Taillefer, 14, 197

Teschner, Richard, 21

_The Indian and the Oki_ as a shadow play, 226–233

Thespis, 149

Thirteenth-century costume, 184

Tombs, Egyptian, 1

Torriani, Giovanni, constructor of wonderful puppets, 18

Training puppeteers: Choosing puppeteers, 120 Manipulating, 122–127 Voice, 133–134, 223 Stage picture, 130–131

_Traveling Musicians of Bremen_ as a shadow play, 217–220

Trent, Council of, 11

Turkey, 3

Twelfth century costume, 182

Value and Intensity, in relation to scene painting, 95

Venice, 12, 13

Virgil, 149

Voice, how to use it in puppet plays, 133, 134

Voltaire, 27

Wearing costumes, the art of, 193

Wood: figures, 10 masks, 144

Wooden head for Burattini, 53–54

Yen Sze, Chinese Showman, 4

Zuni Indian Masks, 146

------------------------------------------------------------------------

TRANSCRIBER’S NOTES

● Typos fixed; non-standard spelling and dialect retained. ● Enclosed italics font in _underscores_.