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- Usually the puppeteer will hold it with one hand, using the other to pull individual strings.
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A marionette (/ ˌ m ær i ə ˈ n ɛ t / MARR-ee-ə-NET; French: marionnette [maʁjɔnɛt] ⓘ) is a puppet controlled from above using wires or strings depending on regional variations. A marionette's puppeteer is called a marionettist. [1]
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Nov 3, 2023 · Over the rest of the summer and into fall, Obama kept in regular touch with Zients, deputy chief of staff Bruce Reed and national security adviser Jake Sullivan to offer input on the executive...
- Overview
- Marionettes or string puppets
- Flat figures
- Shadow figures
- Other types
These are full-length figures controlled from above. Normally they are moved by strings or more often threads, leading from the limbs to a control or crutch held by the manipulator. Movement is imparted to a large extent by tilting or rocking the control, but individual strings are plucked when a decided movement is required. A simple marionette may have nine strings—one to each leg, one to each hand, one to each shoulder, one to each ear (for head movements), and one to the base of the spine (for bowing); but special effects will require special strings that may double or treble this number. The manipulation of a many-stringed marionette is a highly skilled operation. Controls are of two main types—horizontal (or aeroplane) and vertical—and the choice is largely a matter of personal preference.
The string marionette does not seem to have been fully developed until the mid-19th century, when the English marionettist Thomas Holden created a sensation with his ingenious figures and was followed by many imitators. Before that time, the control of marionettes seems to have been by a stout wire to the crown of the head, with subsidiary strings to the hands and feet; even more primitive methods of control may still be observed in certain traditional folk theatres. In Sicily there is an iron rod to the head, another rod to the sword arm, and a string to the other arm; the legs hang free and a distinctive walking gait is imparted to the figures by a twisting and swinging of the main rod; in Antwerp, Belgium, there are just rods to the head and to one arm; in Liège there are no hand rods at all, merely one rod to the head. Distinctive forms of marionette control are found in India: in Rajasthan a single string passes from the puppet’s head over the manipulator’s hand and down to the puppet’s waist (a second loop of string is sometimes used to control the arms); in southern India there are marionettes whose weight is supported by strings attached to a ring on the manipulator’s head, rods controlling the hands.
These are full-length figures controlled from above. Normally they are moved by strings or more often threads, leading from the limbs to a control or crutch held by the manipulator. Movement is imparted to a large extent by tilting or rocking the control, but individual strings are plucked when a decided movement is required. A simple marionette may have nine strings—one to each leg, one to each hand, one to each shoulder, one to each ear (for head movements), and one to the base of the spine (for bowing); but special effects will require special strings that may double or treble this number. The manipulation of a many-stringed marionette is a highly skilled operation. Controls are of two main types—horizontal (or aeroplane) and vertical—and the choice is largely a matter of personal preference.
The string marionette does not seem to have been fully developed until the mid-19th century, when the English marionettist Thomas Holden created a sensation with his ingenious figures and was followed by many imitators. Before that time, the control of marionettes seems to have been by a stout wire to the crown of the head, with subsidiary strings to the hands and feet; even more primitive methods of control may still be observed in certain traditional folk theatres. In Sicily there is an iron rod to the head, another rod to the sword arm, and a string to the other arm; the legs hang free and a distinctive walking gait is imparted to the figures by a twisting and swinging of the main rod; in Antwerp, Belgium, there are just rods to the head and to one arm; in Liège there are no hand rods at all, merely one rod to the head. Distinctive forms of marionette control are found in India: in Rajasthan a single string passes from the puppet’s head over the manipulator’s hand and down to the puppet’s waist (a second loop of string is sometimes used to control the arms); in southern India there are marionettes whose weight is supported by strings attached to a ring on the manipulator’s head, rods controlling the hands.
Hitherto, all the types of puppets that have been considered have been three-dimensional rounded figures. But there is a whole family of two-dimensional flat figures. Flat figures, worked from above like marionettes, with hinged flaps that could be raised or lowered, were sometimes used for trick transformations; flat jointed figures, operated by p...
These are a special type of flat figure, in which the shadow is seen through a translucent screen. They may be cut from leather or some other opaque material, as in the traditional theatres of Java, Bali, and Thailand, in the so-called ombres chinoises (French: literally “Chinese shadows”) of 18th-century Europe, and in the art theatres of 19th-cen...
These five types by no means exhaust every kind of figure or every method of manipulation. There are, for instance, the puppets carried by their manipulators in full view of the audience. The most interesting of these are the Japanese bunraku puppets, which are named for a Japanese puppet master, Uemura Bunrakuken, of the 18th century. These figures, which are one-half to two-thirds life size, may be operated by as many as three manipulators: the chief manipulator controls head movements with one hand by means of strings inside the body, which may raise the eyebrows or swivel the eyes, while using the other hand to move the right arm of the puppet; the second manipulator moves the left arm of the puppet; and the third moves the legs; the coordination of movement between these three artists requires long and devoted training. The magnificent costumes and stylized carving of the bunraku puppets establish them as among the most striking figures of their kind in the world.
Somewhat similar figures, though artistically altogether inferior, are the dummies used by ventriloquists; ventriloquism, as such, has no relation to puppetry, but the ventriloquists’ figures, with their ingenious facial movements, are true puppets. The technique of the human actor carrying the puppet actor onto the stage and sometimes speaking for it is one that has been developed a great deal in some experimental puppet theatres in recent years. The human actor is sometimes invisible, through the lighting technique of “black theatre,” but is sometimes fully visible. This represents a total rejection of much of the traditional thinking about the nature of puppetry, but it has become increasingly accepted.
Another minor form of puppet representation is provided by the jigging puppets, or marionnettes à la planchette, that were, during the 18th and 19th centuries, frequently performed at street corners throughout Europe. These small figures were made to dance, more or less accidentally, by the slight variations in the tension of a thread passing through their chests horizontally from the performer’s knee to an upright post. Similar were puppets held by short rods projecting from the figures’ backs, which were made to dance by bouncing them on a springy board on the end of which the performer sat. The unrehearsed movements of figures like these, when loosely jointed, have a spontaneous vitality that more sophisticated puppets often miss. Another interesting, if elemental, type of puppet, the “scarecrow puppets,” or lileki, of Slovenia, is constructed from two crossed sticks draped with old clothes; two of these figures are held up on either side of a bench draped with a cloth, under which the manipulator lies. The puppets talk with each other and with a human musician who always joins in the proceedings. The playlets usually end with a fight between the two puppets.
Still another minor puppet form is the finger puppet, in which the manipulator’s two fingers constitute the limbs of a puppet, whose body is attached over the manipulator’s hand. An even simpler finger puppet is a small, hollow figure that fits over a single finger.
May 8, 2021 · The cross in the picture is the control bar, and is used primarily with the kind of puppet in the picture, called a marionette. Marionettes, or "string puppets", are suspended and controlled by a number of strings, plus sometimes a central rod attached to a control bar held from above by the puppeteer. As far as I'm aware, the strings are just ...
Usually the puppeteer will hold it with one hand, using the other to pull individual strings. Controls come in every shape and size from the large and complex ones used by Harro Siegel or Greta Bruggeman to the very simple little ones in the shape of an H that can be found in Myanmar (Burma).
Marionette, any of several types of puppet figures manipulated from above by strings or threads attached to a control. In a simple marionette, the strings are attached in nine places: to each leg, hand, shoulder, and ear and at the base of the spine.
May 2, 2021 · Pull the left front string up (raises left hand) or down (raises right hand) to move the hands. Pulling the left string up and out simultaneously will lift both hands.
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