England, puppets in, 143–163;
toy theatres in, 193–194.
English literature full of allusions to puppets, 143–144.
_Epopée_, produced at _Chat Noir_, 99.
_Erotikon Theatron de la rue de la Santé_, sketch of, 94–96.
Eudel, Paul, first publishes shadow plays, 98.
Excavations reveal ancient puppets, 16–17.
Fairy plays, in the _Ombres Chinoises_ at Versailles, 97–98;
in the _Vrai Guignol_, 108;
in Munich, 129;
at Chicago Little Theatre, 174–178;
produced by Tony Sarg, 186–187, 189;
specially suited to puppets, 212.
Fantoccini, description, 54;
derivation of name, 55.
Fashion puppet, Lady Jane, 152.
Faust, history of character, 116–122.
Ferrigni, P., on introduction of figures into Christian churches, 23.
_See also_ Yorick.
Fewkes, Dr. Jesse Walter, quoted on Indian ceremonial drama, 164–170.
Fiano Theatre, Rome, 60–61.
_Figurini_, derivation of name, 55.
Flögel, quoted on English masques, 145–146;
preference for grotesque comedy, 203.
France, Anatole, writes on the _Chat Noir_, 98;
quoted on _Le Petit Théâtre de M. Henri Signoret_, 103–105.
France, puppets in, 81–112.
Francisque, French showman introducing _opéra comique_, 88–89.
French writers and musicians, show interest in puppets, 89–96.
Fun in puppet-playing, 216–218.
Gautier, Théophile, on Turkish puppets, 37.
Gayet, A., on puppet theatre excavated at Antinoë, 16–17.
Gehring, Albert, 182.
Geisselbrecht, Viennese showman, 121.
Genoa, elaborate productions in, 62–66.
Germany, puppet shows in, 113–136;
toy theatres in, 194–196.
_Gidayu_, definition, 46.
Gidayu, Takemoto, 16th century showman, 47–48.
Glasheimer, Adolf, Berlin showman, 126.
Gleason, Arthur, describes Italian show in New York, 172–173.
Goethe, interest in puppets, 122;
maxim on stagecraft, 161;
quoted on his introduction to puppets, 195–196.
Golden age of marionettes, 89.
Goldoni, interest in puppets, 197.
Goldsmith, Oliver, at marionette show, 154.
Grasso, Maria, 172.
Greece, articulated idols in, 17;
development of puppetry in, 18–21.
“Green monster” of George Sand, 93.
Grotesqueness in puppets, 203.
Guignol, originated in Lyons, 107;
in Paris, 107–108;
on steamship _La France_, 109;
performances in Paris, 197–198.
Gyp, presents _Tout à l’égout_, 110.
Hamburg, long popularity of puppets in, 115–116.
Hanswurst, German puppet buffoon, 114.
_Hauptundstaatsactionen_, description of, 124–125.
Haydn, Joseph, composes music for marionettes, 127.
Hazlitt, William, on Punch and Judy shows, 212–213.
Hembauf, George, Belgian showman, 140.
Heron of Alexandria, on early Greek puppet mechanism, 19.
Hewelt, John (pseud.), operator-magician, 101.
Holden, Thomas, operator-magician, 101;
marionettes, 156.
Holland, puppets in, 140.
Hopi Indians, Great Serpent drama, 165–170.
Humor in puppet plays, 203–205.
Hungary, gypsy puppeteers, 136.
Idols, animated, in Egypt, 16;
in Greece, 18;
in Rome, 21;
of ancient Gauls, 81.
_See also_ Images; Religious puppets; Statues.
Ilkely Players, amateur English marionettists, 157.
Images, jointed, found in Catacombs, 22;
religious, in Italy, 51–54;
articulated, used in mediæval French churches, 81–82;
in English churches, 145;
articulated, used by American Indians, 164–170.
_See also_ Idols; Religious puppets; Statues.
India, antiquity of puppets, 15;
development of puppets in, 32–35.
Israeli, d’, Isaac, writes of Punch, 146–147.
Italy, evolution of puppetry, 22;
its development, 50–78;
Goldoni’s interest in puppets, 197;
puppets beloved by children, 199–200.
Japan, origin and development of puppet shows, 43–49.
Java, shadow-plays, 24–28.
Jinavaravamsa, P. C., on Indian puppets to-day, 34.
Joly, Henri, on antiquity of Japanese shows, 43–44.
Jones, Henry Festing, quoted on Sicilian shows, 71–77.
Jonson, Ben, mentions puppets in many writings, 150–151.
_Joruri_, Japanese epic play, 47.
Juvenile drama, 193–194.
Karagheuz, Turkish puppet hero, 37.
Kasperle, German puppet buffoon, 114;
in Faust play, 118–120.
Ketschel, Persian comic puppet, 32.
_Kobold_, definition, 113.
_Kölner Hanneschen Theater_, 128.
Kopecki, Bohemian showman, 136.
Kreymborg, Alfred, 183.
La France, puppet theatre on, 109.
La Grille’s _Théâtre des Pygmées_, 87–88.
Laufer, Dr. Berthold, on marionettes in Egypt, 16.
Laurent Broeders, Belgian showmen, 140–141.
Lemaître, Jules, describes several productions, 110–111.
Lewiss, Clunn, wandering English showman, 155–156.
Lighting a puppet stage, 227–229.
_Lima Beans_, given in Los Angeles, 183.
Literary puppets in Paris, 109–111.
Little Theatre, Chicago, history of, 173–178.
London, Italian puppets in, 146;
present-day street puppets, 155.
Los Angeles, puppets in, 183.
Louis XIV, puppets a feature of marriage procession, 79;
gives special privileges to La Grille, 88.
Lupi brothers, Italian showmen, 68–69;
description of performance for children, 199–200.
Luschan, von, F., on puppet plays in Turkey, 38.
Luther, Martin, denunciations against actors, 123.
Maccus, Roman buffoon, 21.
Machieltje, Belgian showman, 140.
MacLean, J. Arthur, on puppet performance at Ananda, 29–30.
Maeterlinck’s _Death of Tintagiles_ produced in Cleveland, 179–180;
rehearsal of play, 218–221.
Magnin, Charles, on Greek articulated idols, 18;
on Polichinelle, 205.
_Mahabharata_, basis of Javanese plays, 26.
Making a marionette, 221–224. _See also_ Materials; Mechanism.
_Manik Muja_, basis of Javanese plays, 26.
Margueritte, Paul, describes M. Signoret’s puppets, 207.
Marionette, derivation of name, 55.
Marionette Theatre of Munich Artists, 130–131.
Masques, English, 145–146.
Materials, used in ancient Indian puppets, 15;
in Javanese shadows, 25;
in Siamese shadows, 29;
in Cleveland Playhouse puppets, 179–180;
making a marionette to-day, 221–224.
Matthews, Brander, on types of plays for puppets, 211–212.
Maupassant, de, Guy, on Karagheuz plays, 39.
Mechanical dolls in vaudeville, 170–171.
Mechanism, of early Greek puppets, 18;
of Javanese shadows, 27;
of modern Indian puppets, 34;
of Turkish puppets, 38;
intricacy of in Japanese puppets, 45–46;
of Italian puppets, 54–55;
intricate, in modern Italian puppets, 70;
increasing intricacy in France, 90;
of _Le Petit Théâtre de M. Henri Signoret_, 102–103;
perfection in Tony Sarg’s puppets, 185–186;
simple, in Cleveland Playhouse dolls, 221–224.
Michel, Wilhelm, on comic function of puppets, 204.
Mick, Hettie Louise, writes on plays at Chicago Little Theatre,
175–176.
_Midsummer Night’s Dream_, production at Chicago Little Theatre,
175–177.
Molière’s _Monsieur Pourceaugnac_ in Madrid, 80.
Monzayemon, Chikamatsu, Japanese playwright, 48.
Mourguet, Laurent, originator of Guignol, 107.
Munich, home of best German puppet shows, 128–133.
Musée Grevin, theatre in, 109.
Nang, Siamese shadow play, 28–29.
Nantes, revocation of Edict made into play, 86–87.
Napoleon, death of, puppet play described by Dickens, 64–66.
Nelson, Lord, imaginary dialogue with Punch, 149.
Neuville, de, Lemercier, guiding spirit of _Erotikon Theatron_, 95–96;
interest in shadow plays, 98.
New York, Italian show described by Arthur Gleason, 172–173;
puppets of Tony Sarg, 183–191.
_Noël_, by Bouchor, 110–111.
Ogotai, legend of, 31.
_Ombres Chinoises_, French shadow plays, 97.
_Ombres Françaises_, at the _Chat Noir_, 98–100.
_Ombre du cocher poète, L’_, first _opéra comique_, 88–89.
O’Neil, Raymond, director Cleveland Playhouse, 178;
“Construction of Marionette Stage,” 226–229.
_Opéra comique_, origin, 88–89.
Operator-magicians, 101.
Origin of puppets, theories of scholars, 15–16;
Persian legend, 31–32;
Turkish tales, 36;
Chinese legends, 40–41;
Japanese stories, 44.
_Orlando Furioso_ in Sicily, 71–76.
Osaka, puppet plays in, 48.
Owen, Lillian, 174.
Pandji legends, basis of Javanese plays, 26.
Pantalone, Italian puppet character, 58.
Paris, first permanent puppet stage erected, 83;
George Sand’s theatre, 92–94;
_Erotikon Theatron de la rue de la Santé_, 94–96;
the _Chat Noir_, 98–100;
the operator-magicians, 101;
_Le Petit Théâtre de M. Henri Signoret_, 102–105;
the _Vrai Guignol_ in the Champs Élysées, 107–108;
literary puppets, 109–111;
marionette theatre at 1900 Exposition, 109;
Guignol performances, 197–198.
Passion play, at Catania, 77–78.
Pathological types of Turkish puppets, 37.
Payne-Collier, arranges _Tragical Comedy of Punch and Judy_, 149.
Persia, puppetry in, 31–32.
_Petit Théâtre_ in Belgium, 141.
Piccini, Italian showman in England, 146.
Pierrot Guitariste, puppet by De Neuville, 96.
Pinkethman, London showman, 153.
Pischel, Prof. Richard, on origin of puppets, 15–16;
on puppet plays of India, 32–33.
_Pivetta_, definition, 67.
Playhouse, in Cleveland, gives puppet plays, 178–183;
construction of dolls, 221–224.
Plays, suited to puppets, 210–214.
Pocci, Graf, writer of fairy plays for puppets, 129;
_Three Wishes_ produced by Tony Sarg, 186–187.
Poetic drama, difficulties of production, 190–191.
Poland, religious plays in, 138–139;
Wyspianski’s interest in puppets, 196–197.
Polichinelle, French puppet character, 83;
varied career, 106–107;
plea for, 203–215.
_See also_ Pulcinella; Punch; Punchinello.
Pollock, B., publisher of juvenile plays, 193–194.
Portugal, puppets in, 80.
Powell, clever London motion maker, 151–152.
_Prodigal Son_, popular play in Hamburg, 115.
Producing a play, in Java, 26;
in India, 34;
in Turkey, 38;
in China, 41–43;
in Japan, 45–47;
French restrictions in 17th century, 87–88;
_Midsummer Night’s Dream_ in Chicago, 176–177;
behind the scenes, 216–224;
construction of stage, 226–229.
Pühony, Ivo, puppet maker, 134;
his marionettes, Ernst Ehlert quoted, 206.
Pulcinella, Italian puppet character, 22, 58. _See also_
Polichinelle; Punch; Punchinello.
Punch, origin of name, 146–147. _See also_ Polichinelle; Pulcinella.
Punchinello, his prestige and prowess, 147–150. _See also_
Polichinelle; Pulcinella; Punch.
_Pupazzi_, derivation of name, 55.
Ramayana, basis of Javanese plays, 26;
basis of Siamese _Nang_, 28;
modern production of in India, 34.
Rehearsal of play, 218–221.
Rehm, R. S., on puppet show in Samarkand, 30–31;
on Chinese shadows, 42–43;
on Rivière’s shadow pantomimes, 99–100.
Religious plays, at Catania, 77–78;
in Spain, 78;
revocation of Edict of Nantes produced, 86–87;
in Russia, 137–139;
in Poland, 138–139;
in England, 145;
specially suited to marionettes, 211.
_See also_ Passion play.
Religious puppets, at Antinoë, 17;
in Greece, 18;
in Rome, 21;
in Catacombs, 22;
in Burma, 30;
in Ceylon, 33.
_See also_ Idols; Images; Statues.
Repertory, varied in Italian puppet shows, 56–62;
varied in medieval Germany, 123–125;
in Munich theatres, 131–132.
Restrictions on production, in 17th century France, 87–88.
Rivière, Henri, makes pantomimes for _Chat Noir_, 99–100.
Rome, ancient, articulated statues, 21;
Rome, modern, many puppet theatres in, 60–62.
_Rose and the Ring_ produced by Tony Sarg, 189–190;
account of Cleveland performance, 200–201.
Russia, puppet plays in, 137–139.
Saint-Genois, de, Alfred and Charles, 101.
Saint Germain Fair, puppet shows at, 87.
Saint Laurent Fair, puppet shows at, 87.
_Salome_, in puppet performance, 211–212.
Samarkand, performance of _Tschadar Chajal_ in, 30–31.
Sand, George, establishes _Théâtre des Amis_, 92–94.
Sanskrit, restriction in use of, 33.
Sarg, Tony, experiments with marionettes in London and New York,
184–191;
takes _The Rose and the Ring_ to Cleveland, 200–201.
Scala, Flaminio, 17th century director, 59.
Scapino, Italian puppet character, 58.
Scaramuccia, Italian puppet character, 58.
Sceaux, puppet stage in chateau, 89–90.
Schmidt, “Papa,” beloved Munich showman, 129–130;
appreciation of work, 195.
Schutz and Dreher, showman of Berlin, 121.
Seneca, death of, shown in Valencia, 80.
Seraphin, Dominique, producer of shadow plays, 97.
Shadow plays, in France, 96–100;
in Munich, 132.
“Shadows,” Javanese, how made, 25;
of Siamese _Nang_, 28–29;
Turkish, origin and excellence of, 36–39;
Chinese development, 39–43.
_Shadowy Waters_ produced by Cleveland puppets, 182.
Shakespeare, _Tempest_ produced by M. Signoret, 103–104;
allusions to puppet shows, 143–144;
_Midsummer Night’s Dream_ in Chicago, 175–177.
Shaw, G. Bernard, on marionettes and acting, 209;
on future of puppet shows, 214.
Siam, unusual shadows of the _Nang_, 28–29.
Sicily, great popularity of marionettes in, 70–78.
_Signoret, Henri, le Petit Théâtre de_, 102–103;
puppets described by Paul Margueritte, 207–208.
Simmonds, William, artist and amateur puppeteer, 158–160.
Simplification of puppets by Gordon Craig, 162–163.
Socrates and the showman, 20.
Spain, history of puppets in, 78–80.
_Spectator_, frequent mention of puppets, 151–152.
Stage, construction of (O’Neil), 226–229.
Statues, articulated, in Rome, 21. _See also_ Idols; Images;
Religious puppets.
Stentorella, Italian puppet character, 58.
Stevenson’s _A Penny Plain and Twopence Colored_, quoted, 193–194.
_Sthapaka_, definition, 16.
Stoddard, Anne, describes production of _Three Wishes_, 186–187.
_Sutradhara_, definition, 16.
Symons, Arthur, on art of marionette, 206–207.
Tattermann, definition, 113.
Technique of production. _See_ Producing a play.
_Tempest_, production described by Anatole France, 103–104.
_Temptation of St. Anthony_, by Rivière, 99–100.
Teoli, Italian marionettist, 61.
Teschner, Richard, marionette maker in Vienna, 133.
Thackeray’s _Rose and the Ring_ produced, 189–190, 200–201.
Théatines, order of monks, give spectacles, 83.
_Théâtre des amis_, history of, 92–94.
_Three Wishes_, produced by Tony Sarg, 186–187.
_Tintagiles._ _See_ _Death of Tintagiles_.
_Titeres_, Spanish puppets, 79.
_Tocha_, definition, 113.
_Tokkenspiel_, early subject matter, 114.
Tokyo, puppet plays in, 48.
Tombs, Egyptian, puppets found in, 16;
jointed images found in Catacombs, 22.
Toone, Belgian showman, 140.
Torino, famous theatre in, 68–69;
description of performance at Lupi theatre, 199–200.
Torriani, Giovanni, inventor, 78.
Toy theatres, 192–197.
_Tragedy of Nauplius_, representative Greek show, 19–20.
Travelling showmen, in Greece, 20;
in Rome, 21;
in China, 41;
in Spain, 79;
in Russia, 137–138;
in London and rural England, 155.
Treat, Grace, 179.
_Tschadar Chajal_, puppet play of Turkestan, 30–31.
Turkestan, two types of puppets, 30.
Turkey, legends of origin of puppets, 36.
Types of puppets, on early Roman stage, 21;
in Turkey, 37;
in Italy, 54, 57–58.
Van Volkenburg, Ellen, 174.
Variety bills follow Thirty Years’ War in Germany, 123–125.
Vasari, quoted, on church spectacles, 51–52.
Venice, medieval puppets in, 67.
Vidusaka, Indian puppet buffoon, 34.
Vienna, the dolls of Richard Teschner, 133.
Voltaire’s interest in puppets, 90.
War zone, French puppets in, 111–112.
_Wayang_ dramas, Javanese shadow plays, 25–28.
Wheeler, Katherine, 174.
Wilkinsons, amateur English marionettists, 156–157.
Williamson, Mrs. Hamilton, 187–188.
Winter, Christoph, Cologne showman, 128.
Woltje, Belgian puppet buffoon, 140.
Writing for puppets, 217–218.
Wundt, Prof., on comic function of puppets, 203.
Wyspianski, Stanislaw, early plays with puppets, 196–197.
Yeats’ _Shadowy Waters_ produced in Cleveland, 182.
Yeddo, 18th century centre for puppet drama, 48.
Yorick (pseud.), on puppets in Egypt, 16;
on growth of Greek puppetry, 18.
_See also_ Ferrigni.
Zelenko, Alexander, quoted on modern Russian puppets, 137–138.
Transcriber’s Notes
Punctuation, hyphenation, and spelling were made consistent when a
predominant preference was found in the original book; otherwise they
were not changed.
Simple typographical errors were corrected; unbalanced quotation
marks were remedied when the change was obvious, and otherwise left
unbalanced.
Illustrations in this eBook have been positioned between paragraphs
and outside quotations. In versions of this eBook that support
hyperlinks, the page references in the List of Illustrations lead to
the corresponding illustrations.
The end-papers referenced in the List of Illustrations were not found.
In this and some other some printings or scans of this book, the
illustration "Wayang Figures from the Island of Bali" follows page
38, not page 28. The page number in the List of Illustrations and the
position of the illustration in the text have not been changed here,
but the link in the HTML version of this eBook goes to the actual image.
Footnotes, originally at the bottoms of pages, have been resequenced,
collected, and positioned just before the Index.
The index was not checked for proper alphabetization or correct page
references.