HOW TO MAKE AND WORK MARIONETTES
CONSTRUCTING THE STAGE
MARIONETTES, though claiming no rivalry to the time-honored institution
of Punch and Judy, have a great charm of their own, and, with no
traditional story of Punch, Judy, and Dog Toby, are at liberty to
perform whatever play their manager may desire.
Although it is possible, of course, to purchase ready-made Marionette
theaters and puppets, the purpose of this chapter is to describe a
method by which the whole apparatus can be constructed at home at the
cost of very little money and time.
Naturally, the first thing to be made is the stage. This must depend
very much upon the Marionettes you intend to work. As a convenient size,
suppose you decide upon figures 8 inches in height. This means that the
frontage of the stage must be about 28 inches wide by 16 inches high,
whilst it will run back to a depth of some 14 inches.
Make a base of plain wood, 42 inches by 22 inches. If more convenient
this can be made in two pieces, each 21 inches by 22 inches. These fit
together flush and are held by a couple of hooks and nails fastening
beneath. Glue a block of wood at each corner to form a support, as shown
in Fig. 1, which depicts the under side of the base. A, B are the two
hooks and nails; C, C, C, C are the above-mentioned blocks. At a
distance of 2 inches from what will be the front, and 2¹⁄₂ inches from
either end, cut a mortice in each piece of the base (D, D in the
figure), through which the tenons of the stage front will project. They
must, therefore, be made to suit the thickness of the wood employed. At
a distance of 5 inches from the back make four mortices, a couple in
each part of the base as E, E, E, E in the figure. These will serve to
hold the rear of the stage.
The front of the stage is now constructed as indicated by Fig. 2. Two
pieces must be made exactly similar to one another, each to form
one-half of the front. The tenon, D, should be long enough to pass
through the mortice made for it in the base, and project from the other
side sufficiently to allow of a peg being pushed through a hole bored in
it. This peg will serve to maintain the upright front in place.
Furthermore, two hooks must be placed upon one of the halves, to fasten
to corresponding nails in the other half, thus holding the pieces of the
stage front firmly together.
The back of the stage consists of two pieces of wood each 18 inches by
18 inches, having tenons to fit into the mortices below the pegs, and
fastened together by hooks and nails. Before proceeding further with the
work, bore two holes, of sufficient size to hold a piece of stout copper
wire firmly in each piece of the base (P, P, P, P, Fig. 1). The use of
these will be explained shortly.
[Illustration: FIG. 2.--Construction of front of stage.]
The actual fabric of the stage is now complete. Bear in mind no string
or wire should extend from the front to the back of the stage, for the
simple reason that these spaces must be left perfectly clear to allow of
the exit and entrance of the puppets.
[Illustration: FIG. 3.--Stage front completed.]
Next fix the drapery in the form of curtains to each side of the stage
front. These must be chosen according to your own taste, and should
harmonize with the exterior decoration of the theater. The curtains
should be gathered up and tacked to the stage front from the inside, as
in Fig. 3, from which an idea of the general adornment of the whole
theater can be gleaned.
A MOVABLE CURTAIN
The following plan will be found very suitable for the arrangement of
the movable curtain. Take a piece of strong copper wire and bend it, as
shown in Fig. 4. The length of the unbent portion should be about 30
inches. Fit the two ends, A and B, into holes bored in the stage front,
inside and above the opening. The wire rod will thus run the whole
length of the actual stage, whilst the ends A and B suffice to clear the
fixed curtains already tacked up. Hang the movable curtains by a number
of little rings upon this rod. When drawn, the two curtains, which
should be of some stout material, will completely cover the stage.
[Illustration: FIG. 4.--Wire rod for movable curtain.]
The method of drawing the curtains is arranged thus: A string (L, Fig.
5) is passed through the loop C in the rod, through all the rings from
G4 to G, where it is fastened, and then passed on through H and all
those rings up to the loop D. The string L then returns through the H
rings 4 to 1 to H itself, where it is fastened and ends. By pulling the
string L when the curtain is drawn, the ring H is therefore drawn
towards D and the ring G towards C, thus opening the curtains
simultaneously by means of only one string.
[Illustration: FIG. 5.--Arrangement for drawing curtains.]
[Illustration: FIG. 6.--Frame for wings.]
Supposing the curtains to be now pulled right back, thread another
string, M, through the loop E, pass it through all the G rings and
across to H, where it must be fixed. Then pass this string through all
the H rings, through the loop F, and back by way of H to the ring G,
where it must be tied and end. It will now be found that by pulling the
string M, the rings G and H are drawn together. To avoid any confusion,
a distinctive mark should be placed upon the ends L and M of each
string.
You must next bend a couple of pieces of strong copper wire into the
shape depicted in Fig. 6. The sides A B and C D should measure 20
inches, whilst B C must be of such a length that the ends A and D can
fit into the holes P P already bored in the base. These pieces of wire
serve to support the wings, trees, or other stage arrangements as
occasion requires.
The stage is now complete, and will take to pieces and pack up flat with
no trouble or inconvenience of any kind.
[Illustration: FIG. 7.--A stage tree.]
INTERIOR DECORATION
The next questions that arise concern scenery. This depends entirely
upon the play to be performed. The floor of the stage must be covered
with suitable paper, or better still with a carpet. In the arrangement
of the wings and the scenery connected therewith, do not forget that the
spaces on each side must be left clear. Marionettes cannot enter by
doors, and a descent from the ceiling is not only undignified but
impracticable. The side scenery must therefore be as simple as possible.
Unless your performance is to be upon a very extensive scale, the actual
amount of scenery required is not great. An interior can easily be
painted. Pieces representing the walls of the room can be hung upon what
may be called the wing wires, whilst the rest of the interior can be
painted upon the stage back.
In all probability a rural scene will also be required. A stage tree or
two (Fig. 7) should be fastened to the wing wires, and the background of
sky and landscape need present no difficulty to a handy amateur. Street
scenes can be arranged by hanging the ends and fronts of houses from the
wing wires, whilst the background may either depict the street fading
into the distance, or have another house at the corner, after the
fashion of stageland. A great variety of scenery may be made with the
help of an artistic friend; and when at the theater, inspect the effects
closely. By doing this many invaluable hints as to setting and scenic
inventions can be acquired.
But what is a theater without the actors? Who are to perform upon the
boards you have so carefully constructed?
It has already been mentioned that the Marionettes are to be about 8
inches high. This will be found a convenient size for the beginner,
since very small figures are apt to be troublesome, and large ones are
sure to prove unwieldly. It is important to have the Marionettes so
articulated that they will readily answer every motion of the operator’s
strings, and be neither too stiff nor too limp.
[Illustration: FIG. 8.--Dutch doll for puppet.]
HOME-MADE FIGURES
[Illustration: FIG. 9.--Universal arm-joint.]
The following hints will show how the figures are to be made at home at
slight cost. Get an ordinary Dutch doll (similar to that shown in Fig.
8) of the proper size and neatly made. Notice that the hip-joints allow
the legs to move upwards freely, a convenience that the ordinary doll
lacks. The knee-joints are after the same pattern, and allow the lower
part of the leg to double up for sitting and kneeling. These joints
should be made to work easily and evenly.
The arms should be attached to the body by what is known as a universal
joint (seen in Fig. 9). Make the surface A B (Fig. 10) perfectly even,
and then scoop a slight hollow in the wood. In this hollow drive a
staple almost up to the head, leaving only enough room to insert a piece
of string in the loop, whilst the head of the staple is level with the
surface A B. Round off the end of the arm (Fig. 11), and pierce a hole
about half-an-inch from the end. Thread a piece of string through the
staple and through the hole in the arm, tying the ends together fairly
tightly, so that the arm is perfectly free at the joint but does not
hang loosely.
For the head, either touch up the original Peggy’s head to make it
respectable, or remove it altogether, replacing it by that of a china
doll. In the former case, a flaxen wig must be glued over the black
painted hair, and a human complexion given to the crimson cheeks.
Undoubtedly a better effect is produced by exchanging heads with a china
sister.
The dressing of the Marionettes need be a matter of no difficulty. The
costumes must depend entirely upon the nature of the play, although
certain stock characters may be made once and for all, and kept in
readiness. A sailor, a soldier in resplendent uniform, a policeman, and
an ordinary man or two can be kept prepared; whilst for the fair sex, an
old lady, a young one, a maid-servant, and a little girl are likely to
be of service. The remainder of your cast must be regulated by
circumstances. The clothing may be fastened to the above-mentioned
characters; but in special cases the costumes should be made to take off
as occasion may require.
[Illustration: FIG. 10.--Socket for arm.]
[Illustration: FIG. 11.--Rounded end of arm.]
[Illustration: 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
[Illustration: 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.
WORKING
Practice the parts carefully and thoroughly. Be ready with some joke or
patter to cover any mishap that may occur. Accidents are unfortunate,
but in Marionette-land quite probable, so if Aladdin’s left arm fails to
work at the critical moment, there is nothing to do but make the
audience think it all part of the fun.
Supposing the evening for your entertainment to have arrived, and that
all is in readiness, place the theater upon a table at such a height
that the spectators will get a clear view of the stage, but will not be
able to see the flies. The table should be against a wall, and arranged
in such a manner that you and your partner have sufficient room to move
behind it. In the space between the table and wall a couple of boards
must be placed on trestles, so that the operators may stand above the
stage.
A curtain must hang from the ceiling to meet the top of the theater. On
no account should the audience be able to watch the heads of the
manipulators moving the puppets. There are few better plans than to have
the stage arranged in the embrasure of a window, for the curtain can
then be easily contrived, whilst the “show” does not take any of the
space required for the spectators. But this, of course, must depend upon
the nature of the room at your disposal.
The guests having been marshaled into their places, the entertainment
should open with an overture. If there be intervals in the course of the
play, the pianist will find fresh employment, whilst at times a running
accompaniment is very suitable.
Start with a one act farce, to be followed by a fairy tale or pantomime.
Conclude with another short farce, into which may be introduced all
kinds of whimsicalities, jokes, local patter, and topical allusions.
The puppets will do exactly as you direct them. Make them work their
best; let the show be worth seeing and hearing, for the possibilities of
the Marionette stage are very great, and with ordinary care a most
enjoyable entertainment can be produced.