Viíjtčcli Suťbaab, ik'CUKition ol the lower on the Koiuna palace. Plague ljilj
ľhoiojiň VSetečhů
13/1997
theatre
CONTENTS / SOMMAIRE
ezeeh/tehéque
Maric Bílková
The Puppoi through the Eyes of Visual Artist Lh marionnette vUŠ p«r les artistes
Jaroslav Blacha
Family Puppet Theatres in the Czech Lands Le Ihéútrst de marionnt->II*jS familial irhéqiie
Alice Dubská
From the Hegemony of ihe Designer to Cooperation
in IJesign / lie i'hegemnnie de I'Hrtiste á la collaboration
artlstiquc
Nina Malíková
21
33
45
Puppets before their Time
l.es marionnettes qui ont devancé leur temp:
Karcl Makonj
•19
Theatre of Josef Skupa Le theatre de Josef Skupa
J. A. Novotný
50
Puppcimukcr lPk:fluciMm-> on Discussion* with Jiří TrnkuJ Marionnettiste 'Reminiscences d'entretiens avec Jiří Trnka)
Jindra Patková
fift
An Exhibition of Puppets from the National Museum Collections in Prague / L exposition dt; tiuiríamiditis de la collection tín Musee national de Prague
Alena Exnárova
72
The Puppet Museum / Musée de la marionnone
A
I'lipjii'ls nim I** liy llir* folk piippHcj-r rtnliiir.iil ll:il)ii*h ii'il IjUl (fiiiniv
N-KfmUl Miix-um I't
Rack cowi
Vaiicty show puppet, cud luth-culy 20th ccscuiy Njuoiui Mu<cum Pbotttt I-'ikti>r tCmnbtnier
Puppet Collections :n Museums m the Czech Republic Les collection s de mriruinnetl.es dans les mnsěes de la République Tchéojue
70
TRANSLATION /' TRADUCTION
Barbara Day. Kevia Power. Karol in j Vor-uilii iínlo i:nglish)
Oi-iti VuíišJtovd len Irnnciis^
THE PUPPET THROUGH THE EYES OF VISUAL ARTIST
La marionnette vue par les artistes
Marie Bílková
The Victorious Invasion of Puppets into Bohemia
"piippe; theacre as a continuous professional activity x found us way into the Czech Lands after the Thirty Years' War 11618-19481. through English. German and Italian theatre companies, In which artificial acton partially or entirely replaced the humun malcrtuJ which had been severely depleted in the course of ihu war. This experience of substitution, which essentially lasted until the renaissance of puppetry' at the beginning of the wen-tic ill century, left profesbLontil puppet theatre on the fringe of artistic activity, where it soon became papular as a universally accessible form of entertainment. Krom approximately the rriid eighteenth century Czech puppeteers replaced nomadic foreigners. Families travelled around the countryside, making their living on performing with marionettes and making use of the opportunity to reinforce the ability of Czech to function as a language "of culture". They enjoyed "he open and grateful response of a predominantly low-brow public up to about the mid-nineteenth century and contributed through their personal commitment to the educational efforts of the Czech National Revival. Towards the end of their activity, revivalist puppeteers became the object of intellectual parody, and shortly after that were whole-heartedly applauded during the epoch of the- "puppet renaissance" (which was also an intellecmal endeavour!. They became a legend,
which due to its idyllic nature only remotely referred to
living people. In this way. Mate) Kopecký (1775 18471 be came a lefiendary figure and symbol for the cnlirc tele braced world of puppetecrm^ during the National llevivul He worked »ith his family in south Buhciuia. in a region
where puppeteering families ware vigorously active. The counterpart in North Bohemia wss in the Podkrkonoší !Lower Giant Mountains! with the Sucharda family who were N'ova Paka wood carvers.
Legend and ln$piralion
A man whu gained recognition for shaping the effective popularisaliun of '.his legend, frum the same region as the Kopecký family but to be found among the later (yet the most popular! uffshouts of the Hevival. was Mikoláš Aleš U8S2 19131 He was a draughtsman, caricaturist and painter; designer uf lunettes for the National Theatre (the Vias{ or Homeland cycle), creator oi frescoes and graffiti work for houses in Prague and I'ilsen. and one of the first Czech bouk illustrators and an involuntary creator uf mystifications As an artist he played a role in the legend which would later serve the communist glorification of "pure national art" opportunistically linked to the "people". Aleš was suitable material for cultural ideologies. He was popular with the masses, and acfrnowledfied by experts. His cnmprehensihility and orientation of his subject matter towards the life of ordinary people wore beyond doubt. His artistic abilities have stood the test of time He ardently celebrated the heroes of C?ech history and left-ends; he idealised rural folk, sometimes merrily irenising them, and unleashed his sharp humour on the 'ruling state* Ale* s tendency to harmonise reality not to com phrate hut co illuminate it with a natfonalisiic or warm
i> family pupp« .■ ...im. iy i ■ / Nüiioiul Mimam
Prague I'bat'i Mlttor Knwlxttwi
2
foudt, «h not condescendinfibu: n.miia) and spcmaacous,
and tempered ivith talent and fioťid raste. Il is IruC? lhal ne kept the gracefui and dignified Oi"der of CíCcli rural life well outside au sri%toora:ir. pastora! l/fOpM. bel his world Wwt not the "realistir:" reflectlon <if $oclc(y U 11 was later interpreted hy pupila of the socialist school Es sentially Ir emergeď front lil* memones of chrtdhůuc and early yourh. memones ořtne limo whcii Aloi really
had hved m rheoonntry. Mnttsed Lo a popútor way tftor
tne fashinn of tne National Ruvivul Kupecký und bis pgpp«ts Hkewiíe bcloiiK lo the kaloídoscupe of lhoso pieasant yet not wer -sweeionod rvcoUuCUvo pícturei, drawn wiili a ktnd and wwtifflftT hnmuruus plstyfulness. AtoTs ficUtiOuC. púrlrail uf Matííj Kopecký WU elcqueritly Styttsed ni tfie tonu ořu U^ciidary hero amonspopulsr
m Mik
£-i "Dcvtf' puppets, end íyih - kiiIv 20th irniurv.' N;iikin;il Musrum Prague
Pbaiós Viktor KrtniliaiíCT
puppeteers, himself u little re.minisr.finr of KaípáreV il was nearly understood as an illustration nf a real character.
Before ChrÚUlDU lata, when The Oeoh lands WflTS still part of the Ausrro-Hungarian amfiivň. the first series, of what were known as Ales's pupp-ets appeared on the market. The marionettes for household and schoul Iheu
tre$ Irom tho workshop of Arilonin Munzbarg were mostly modelled by Kaitd Kobrio This type of puppet would he produced under the same trade mark in yet more series and would turn into it concept which to some extent in still valid lo this very day. What sort of share In "his" pup-pots did Ales have at the age of sixty, when only a yea r of his life remained? In his youth Ales had drawn, folouced.
cui up and pa*tvd two^tmensional cuiObo«rd pupp^r* for iho ptOWn of the children who lived in hi* lodging" ti377» uiid later for his own children (IWH Children played wUh thu puppets, whilst Alei  - u jjed In the production* only occasionally He no longer participated
in the duvet production of the puppet* "Aiei'i puppet*" were avl de»ign»d by the amsi but were inspired by his two dimensional puppets and nenre drawing* (Ales'* dra»Uui*. particularly the illustration* ullolk *ong* became at Ihla time the model for various produrts of an
Ci a puppet kik* t>* it .Hr-- ■ puppet theme :i<«n Aiwonin MuiuKtri »i*IľJ«^. Prague 10*0 NaaonJ MinCTim Prjp»c
O-Dcnľ null*1*. ľWi - cjíhr 20ih OHfto) t Náteru! Museum J'ijk»» Photo* 1/Í1— Kn-ttbuutr
VUlttG industry such as handkerchiefs, neckcloths, and decorative utensils Insofar us Ales was strongly Inspired by the beloved puppets of hi* ibildhood. we may find in bis models the "retold" puppets of the Kopeckysand their wood carvers. At the time of Ales a childhood (in the 18508 and «Kl puppet* were regarded in a parodlC to the extent that they expressed popular parodies of dram* ■-. a stubbornly uld fashioned puppeteering *ly!e At the same lime. In »pite of a. manifestly sympathetic relationship. Ale*'* concept of the puppet beam the moderate attribute* of parodic deformation (or exiuiip.c oversized heads The puppets created after Ale4'» model** are marie deliberately archaic and naive. Despite u tertuin ridiculousness mid clumsiness, they reaffirm their beauty and effectiveness, luid even have some of the uuujic of the "revivalist" style Ale* liked puppets hut he did not dwcite his life to iheui Nevertheless, those who were addicted to puppet* chose htm as patron and pcrlkip* unwittingly also as a Nil of mascot tthe head of one of Alwi'a puppet*
Ojttíoí VáchaL Doctor Faustw, 19I0 Mii.-*niii <if l'u])]iei.s Chrudim Ph<ú»Juttvlai; Henu
boailtlR Ihe appearance o; the aged Aleš - the prudent white-boarded townsman). AI the beginning enthusiasts pursued their hobby on a non-prolessionai basis.
The Puppet Renaissonce
When, at the :urn of the nineteenth century, interest >n puppet? broke nut 10 its fuLI extent, the initiators and successors nťrhií wert! to a. largu measure the íuiíslS and designers. Painters ar,d s-et designers painted scenoiy (whilst also designing puppet s. acting, reciting und direct mg], sculptors designed and modelled puppets und did not avoid getting involved in other activities Some uf them remained enchanted by ihe ":rdc. .... coiiccj;! 'such as ihe stage designers Karel Stapler und Josef V/enig. the painters and graphic artists Adult Kašpar. Anus Schemer and others), while others looked ut mod crn forms and pflwilviUte.í (The urbar, artist Vladimir 2áki'e|s the painter Vít fikala). But they did not arrive at any sort of fundamental revolutionary form before Ihe First World War Cartoonists were especially active IZdcnúk KraiOChvQ Huko Ftoettinger and later Ondřej
-
>\iiiri\ Jkrv popper jmi i-jiahi i41 folk puppet show. Ztui hal* I9>h irnmrv Nauonil Mmmwi tapic
< Puppet* made by thr folk puppeteer Bohumil Halath. rod 19ih ccMury. NflftOMj Muwum Prague
nHgrJAmlMlf
S      i  as were landscape painters (Ota BubenVek JunsiavPanuika laterV'^Un^Iujca-'arJundersiar.daWj sculptors (Josef Seinosi ar.d paniciUarly ladulav Salouii tut artist using art nouvcuu symbolism who applied himself to the monumentu] sculpture ní memorials' In ivva (the year aft or "Alcss" puppets appeared! Scenery by Czech Arum was published and went into another edition in tin. 1020*. its publication was initialed by the remarkably Rifted theoretician Dr .Iindhch Veselý who was al*o an historian folklore specialist and collector sí well as an organiser ar.c propagator whose systematic life's, work crcolcd lbe grcundwork of reíMrt h juiwiy m the field of puppetry Like Ales's puppet* these RUB were also made fur "sthool and home" II was Ihen an educational activity. Although noi all usual artists had a lasunK rvJ«Uun»h:p with -puppers tiny cvident;y :nok
lacir task wwusly and paid great attention to it. The "lastele** Orman" Roods which had so far been usee were to be replaced by (his scenery tin the pre-war era. more noweahle emphasis had twen put on the itlnbulc "C-erman" rather than that of "tasteless"). The Scenery by Czech Artist* tended to be identified as reformist Tlie area of the puppet theatre, which had so far used a reduced copy of the baroque- Galli iiibiena wing system, was "purified" hy a reduction of the pain of wings. A proscetiiuui arch made of rubisl components was designed by Franiisek Kysela. painter. ■■■ i...... artist and stage designer. »ho
psrmpsrpd in the Drsi production of (>afh eiprfeKucis— iViktor DyV's Zmuud/tn dose Qui&ia. The PnlmrUvmeriZ of Don Q... tout at the Vrnohrady Theatre in I0U. directed hy FraniiieL iavfutl The general tone of the scenery, however Hives u very "sensible * and moderate unpressior.
7
even tor Ihe period in which It originated. In short il follow* a mxldJc course Rut there is perhaps om cicvption. toiumtvd perhaps because it concerns the likeness of* tcrrify-in*- environment - that of Kell. A contributor to Ihc Omani N&vdni listy unite. -This hell is or.gir.ul in Omt m MM a mmM different idea of the story book theatrical bull (his is rather more jocular. We know Uuii lost *oul* arc sufferitift ih ere. ye! The figures of eomlctU devih maku the luffvruiK bearable, indeed self-evident...' His doIImiui hi iho newspaper iVdrodnt pofirifea. up parently shattered, munagud a manifestly diffident
parents had married, one of the most controversial of C/C-"' artists would also h   _ borne the name Ales. *—r* Vachal was the son. born oul of wedlock of Josef Ales-Itfec. patnonc teacher and propagator of *kun« cousin of (he renowned 'National Anisl' NUkolu* A lei Vachal entered (he history of Czech puppetry by means of a quamanvely negligible episode, and il doe* not seem as though he influenced the devdtopmunt uf this field m i direct or significant manner. It is good not just tu mention out also Rive proper emphasis to his rustic** individuality, emorucitiB spiritualism, esoreric activities uud sulimism
\ M    (»muHis Uloiixinj» tit tblk puppeteers, end I9ih  rjrly Jtltli iviituiy /V<.t/i> Viktor Hi'nx'kiiwr
'1 do not know whether even Kasparck would not tic tuuious between those white-hot cauldrons, between wailiiitf sinners, broken limbs and the pile of palid skull* lie is siillahoro'"
Possessed by the Puppet
This he)) ft :hP nightmare of s diicrdere-d sinful sou) Tor •hw fragile frame avait phantasms. >u created by the versatile artist Josef Vachal ttSM-1969). a friend of We swly. whom he helped to arrange a set of devil* for ihc first Hruifuc Exhibition of Puppetry in 1911. If Vucti.il*
as well as the marginal genres of 'store keeper*' songs" or spine-chilling literature, in us muih as they are related to the world of puppets (His puppet* of a'luvenated wood can be both a discarded toy ucd an icon) Tnis phenomenon who. unlike his uncle Mikuids. *u> i>ot only ■ iih to communist surveillance but was own turned into an out-rutfil labon and ainsicered an mJctiiun of *pcrvexlcft an' (except for the brief period of the thu* ui llie 1990$). did not assert himself completely across ihc ■bota of hts creative career, however, from the beginning of tlie 1960s he win almost fashionable (initially as a taste of forbidden
B
Tf?eAirita} afttltivrtml Pu&piftvr lil a iviall ťfiiii. 1390
1'liou- mcbuvs
7 tittnibiv
Sulf |¥irtr-ill as j puppci by iMikohl.š Alts Workshop i>f Aulf inři Vlilii/hrrg. Prajjue
Photo ůrebůto*
fnjitl For ihc peaceful souis oíthc :rtidi! i-1-he was ron entrenched ano tmpuriunaic. tor livi programmes of various modem movements similarly ■intrenched, nol lo mention deiiberti'.ely archaic He was his own man in tho most OXlrOn>0 sense Apun Irem a shon period nf Token assnaarinn will) SURSUM, wbuic hu .:.[■. .tu-,    Veselyas a theorist. Vacha) was a social 8Dd il'ilslic loner a misattlhi opu and a thorough executioner Of" visions which wore his arid his unly. He came into contact With puppets .it tho lie Kliliiiiigoflib urouive lite, when, even with hisiudiYidiiiilis'icarui jioc&sy life, ho Was still tible and willing in "get Id know purple" Apart fi*oni the *4n$> fur the scene u! hulí. he carved seven! puppets for his Incnd Veselý, which evidently enriched the historian's collection and wen designed more for exhibition purposes. Vácha! dealt with the lypical motifs of puppetry
9
such as Faust and the Devil in his wood-cuttings inspired hy subjects from puppet theatre m the journal CVsAyioyrfcrir rCKKh ftippeteerl.
He even accompanied the pinwres with scripts .allegedly (roD) ihe. output of folk puppeteers. The character nf Skfet is oik- or the puppets carved in about 19)1.This carving la of a fantastic litile creature with deformed limbs, iih which ii could hardly move. It is more a symbol ufa puppet a mysterious wooden bem« than a puppet or mariotioiie in ihc true sense of iho word The reason Vo*e)y dealt with the usually non-communicative Vachal was because of his relationship wtth wood, intrinsic to litis individualistic luck of all trades in (vfctviKo works, ii wboic plcihuru vt urCHsp of ftCUvily lends   be listed, agues'. Vacluii's nu;:ie paUiler. p:Jjiini<iker lof wOOdCUlS v.ouu engravings, linoiuts. cerkcuts. etching etc.1. woud curver. typographer iquuJjicd book binder!, writer. II ttin be seen thtit for Vachal wurlcir.-' '>viLh wood was of the first
order. In his own voluminous books, which "came out" in only small numbers, he prod-ced by a method of wood engraving and carving r.ot only nf the pictures hut also the gothic-style lettering As one critic said, he carved anything; he could lay his hands on. He did nor. merely Carve statues hut pipes, sticks, paper-weights and engraved on Ins own and his friends' furniture. He carved such a horrifying sequence of creatures into the furniture of his patron. Josef Potman of I.itomysl. that with one glance at the bed oven the most notorious sleeper would loose the desire to submit to his passion
At first glance. Vachal and his uncle Ales are nnt linked by any apparent artistic affinity; but let us look 31 their relationship more closely. Josef, who did not have any undue affection (or his father, recognised Wikolas. visited him m ihc family circle and evidently enjoyed himself in his company In his fiery memoirs Pem&u. the work of a
sarcastic and even embittered man, a lei K for him one of the lev,- people about WhKNV hp Is capable of Speaking positively and with any sou of enthusiasm, although She Uamotn end with che FtrSJ World War. Roth had iheir own world, generously populated more Of loss with a permanent circle of hemg*. a world 'hoy enchanted and fascinated by consistent creation * the ODO in a popular, ihe other In an individual way. Bui 0*50 being tensely populated did 001 suffice to cover the whole surface. Wherever (hero is no Utile; figure, there is an ornament or a lector It ©von brings tu mind the "oriental' fear of emplblOSS But this mainly concern* '.he persistent manifeslatioas uf the art iiuuveau tendency of the period foe all Corners of life lu be adorned "tu suit themselves". In lhc spirit of this atmosphere. Vachal and Ales simultaneously encroached uji tiie territory of objects of daily use Ales ipuu -.t the creative styiisaliun of art nouveau itself with its pnxlclictiuii for ornament, flatness, linearity of expression, while Vachiil took It as his starting point. The individuality uf buih. however, is victorious over style.
Ales's figures are people from the real world- oven if idealised or tttghtljr caricatured, whereas Vacha)s beings are from the world of spirits and insofar as people are present at all. they "Suffer* expressive deformation through snmesortofsonmambulistlc ordevibshcfcsessioii Ales was .in artist who professed renaissance ideals: Vacha! could not hear renaissance restraint and was Inclined to entitle and baroque mysticism. AJe$ was an artist uf the day. Vacha! offne night. Alois relations to puppets were of a fnlkionc and idealistic inclination, whilst Vaehiil as a spiritualist saw the puppet as a being from a 'different snore" For him the closes! puppet waa clearly the devil. Vachal wrote abOUl the devil, carved. etched and painted him According' 10 his Losliinuny. Ihis phenomenon had been Considered hi* dully and nightly bread since early childhood He hud already been drawing devils as ar. apprentice, lie ludk such things quiie seriously, even if with his characteristic sarcastic grimace. In one coloured wood carving entitled The It'oodcsrver's Domestic Lift UhOrOj* Wet a*. .Halt, he depicted himself working on a print 'which a devil himself prints on Värhals machine...". Su the relationship was that of colleagues. Indeed, of friends. Vächais world Masof supeiT.sr.jral be:ngs. animals and objects as an alternative to the world of people in which he did not feel at ease. The "inhuman" figures, including the dead, are more alive In his interpretation, and sometimes more colourful, than actual living people äs in .Sen inrtHflHk ',51H fflu* LVnri Mni'A Thvam'k In velalion to this, it is of interest to recti) the words of Fdward («Orten Craig in his essay 7*fte Actor and the Super-puppe; of 1908. "Phantasms strike me as more beautiful and more alive 'ban men and women- It is Impossible to go) inspiration from something which dees not receive the sun of life, but out of Ihis mysterious, merry mid. above all else, full life, which is known as death Oat of Ihis life Of shadows and unknown shapes in which there really cannot be merely darkness and mist . but also living diverse colours. living light clear, distinct shapes.."
The SCCC-nd E\hibili«l flCftttpCÜJ |ggk place liviu Ifffil 1932, again thanks to VosOl/ and was nut simply a retro Specltve like the one ten yvars before, bul also a survey ul* contemporary now tendencies and impulses. Nevertheless, a Collection uf devilish beings, conceived in a so-
ntownat venerable manner, met wHh great success, not least according to those who reported the exhibition and Vachals devil jusiutedils place amum; them. Ir. papers written about the exhibition oimsíderatians appear about what makes a puppet a puppet, why ar. actor may imitate a puppet but never a puppet tin aeter. why realistic decorations are wrong, etc. In liohemia they had finally begun to liiinli iityjul lhc puppet in ;hs rameni c: the twentieth century. 1 ho expressionisticaily grinning little hsnd-puppet heads ol Josef Skupa from Pilsen attracted attention. The restrained modernism of Ladislav Sumar HWlT-MITiP In his designs for the decorations of puppet theatres was Warmly reCieved. He was a graphic and decorative artist, an architect of dwellings and exhibition space ano a stage designer. Sumar dealt with puppets systematically, and so his aesthetic view and modernist artistic conception was adapted to the needs of household and school puppet prsctices. aimed at the perceptions of the child spectator and producer.
Solnař's widespread activity also included designs of wooden leys for Arló! i    ••   Ihe association uf
artists from various úelds ef applied art. who In conjunction with art awuvuutl hud attempted to raise the artistic level of subjects of ever-day use in the spirit of modern aesthetics, which, understandably, in over twenty years of the group's existence had changed (from cubism via decorative rondo-cubism ;o fur.ctior.aiism). Apart from jewellery, souvenirs, glass, ceramics and furniture, "assorted goods' like toys and puppets were sold in Artěl's sales outlet. They were inspired by folk toys.
Those reporters who mentioned the participation of the architect Jin Kroha UBlKM&Tfl) at the second F.i'mhi:ion ofi'uppetry. spoke about his contribution with hesitancy. Í: not unfavourably, "...the unpleasant spirit of German expression ism reverberates in the 'theatre of dungs' Which is a design mo literary. ton papery.." 'Strái (si socialismu / The GuanSitm of CxeeftostOVoA Socialism! Kroha was evidently the only exhibitor to be paicnlly provocative. Apart from his painted h.odirtieiisioual puppets, winch the correspondent did not find "likeable", he exhibited a "Knight" made out of tins a 'Mother of Mugs*. 'Mr Rov" and other items representing 'the the aim of things". I ike Vachal Ktvlia's puppet extempore was episodic Neither here nor then; do we find a direct influence, but here and there- is the creative natural uf the artist lutked expressively and symptomatica!!? to ihe phenomenon of the puppet, although the starting point ui Isoth is in polarity Vachal was a magician engrossed in the dcpllis of Ihe past Kruhu was an advocate and a pioneer of avant garde movements in their clear-cut form tfur example, in architecture bte .vent from cuba-futurism to tniliianl purism) tven though we may attach to him more than one attribute - painter, sculptor, stage designer, theurist • the focus of his interests and activity remains in the field of architecture. Kroha's puppet "contact" is related to the more watt-known period of his creativity, to his stage designs, to which he devoted himself from 1821 1^23 His stage-design projects brought to a head by Utopian extremism were only partially accomplished at the price of compromise nr ware completely abandoned, Nevertheless. Kroha -wrote himself into the history nf modem Oerh stage design The shorter his reach, the more it was disrinct. Krnha's conception of stage design for dramatic theatre is directly affiliated with the phenom-
11
onon oí 1ho puppet, ľ, dots indeed continue Craig's dream of the supcr-auppe t, in this case equipped With literary and spiritual symbolism and transformed into the spirit of the proĽrammatically impersonal ísed abstraction ofihe Italian futurists such as -hit oi Fortunate Dopcroundof the German LauhauswiihOskarSrhlemmer. Kruhd attempted an absolute style oť t he unity of stage and uĽlor. who would fulfill his mission ni a mobile artistic component, a building unic of dynamised architecture, without gainsay or human errors. Hjs demands of the Mace vara both expressive and related in movement- ft is the first dream of a O.pr.h kmerir set. which for us conceptual consistency in rne control and manipulation of the actor could nor 1» fully accepted by the official theatre. We think of how >n 1932 Kroha attempted io apply his basic scenographio technique id the "stone theatres"; in the Prague National Theatre in MníCf Poctivý (Matthew tha Honourable) by Arnoät Droŕák and Ladislav Klíma, directed by Vojta Novik'i and in SwaaoVs Theatre in Smir.hov in Christian Dietrich Grabber terl. sahra. irome a íiíi.Ôíi vywm tfok& Solve, Irony and Djttptt Meaning), directed by Jan Cur (After the Second World War, the architect JosefSvuboda developed a kinetic concept of iho sta^e by means of modern stage ledxtlgjuisJ
11 was not. however, the :":rsl dream of subordinating the figure of the actor to the decorative -directorial vision. Thinking along similar lines '.vera the director Karel Hugo Hilar (ISŠS-tfiSB. head of the National Theatre in Prague from MHE1-183&) and his stage designer Vlsstis'.av Hoíman HB64-lfla4), who were practically and theoretically asserting a sculptural conception of the figure of the actor, although in this case under the hanner oi expressionism. In the spirit of clear-cut visual s'ylisation. people like ,in<#f tapek snri Bedrich Feiisrwein anpmptpc in create the figure of an actor with a costume and 8 mask As ran he seen, even if the puppet may evoke associations of childlike fragility, it became the focus of attention of rebels and experimenters A? Craig and hi& predecessors and rocCftMOrg had known, the puppet is "01 only an ideal actor, but the ideal. submissive and faithful 'kernel" of the picture. For the artitt, n is also fascinating lhal the puppet 15 capable of movement Grain Hilar and others were discontented directors. They were of lhal breed which attempts the impos-sible 'Allegedly Hilar OOCC asked an actor to iump and stay for u while hi mid ale) Artists who return to liie puppet are not necessarily dis saiisfie<l. but have á certain restlessness, a corluin yearn itiK to slip out of Itie given nátura ol their field at least for a while ll is possible that even those who sought in the world ol* puppets a oonsoling eradle or were returning to such a well-examined tradition, win subject to liie temptation of tha matrica! dimension of the pupper. They were and are humble or stormy devotees of idols. They enjoy playing, basking in the fragrance and clay of an unexplored cave.
Pre-Presenl Time
The attractiveness of puppotir bad '.ho possibility of onto agaiJi establishing itself with ongoing developments in the visual arts after liie Second World War. 1'he loosening of borders belween individual artistic fields of activity, which since the !:■.:■ hus been identifiable an a world scale, took place in the powerfully and ideologically suppressed Czech culture, predominantly on the level of
12
the 'underground*, or else nuietly and grudgingly tolerated as an eccenrriciry. The puppet (or its mutation! provided the possibility of communication with an "Innocent" partner, unburdened with ideological demands, which has its place in the tradition of C?*ch culture and in the irrational world of free imagination.
Jan Svankmajer loom 1Q34> is. a representative of Ctoch surrealism in the field of film acid design Ilia study of
puppetry al Prague's theatre academy, DAMU. has been an unporUujl influence on his- work Some of his animated and combined technique tlims draw direclly from the world of puppets in terms of iheir subject matter, portrayed in a historicising version, although through the eyes of Iho surrealist seen as ur.o oi the archetypes of the subconscious for example in Lskce fans! '.Lesson Faiistl. His tactile and other toys have the character of toys for adults who give veni to their obsessions by means of phiyfulness. e.g. in the lilm SpHii&ici tttuti tCoruptratttt und in his tree creation.
Krantisek Vitek llffJ*!) i^ ar. entirely different sort of character. He is a wono-caiver who established htntMV as a puppeteer, and whose attitude to wood, the wooden face, rlie wooden body, is a.', to parsonallty. He behaves towards puppets as if they wena children, who cortainly need help but. at the same time, now have iho right to their own life. With his wife Vera IUCarov4 a puppet performer, artist and director, he arranaed perfonnances which were hound up in tightly -kail toremuii.v. where grown-up dreamers as well as curious childrvu join in. Ihattka abnOM W a family inilimacy Vilok in his lime was engaged as a desifjier hi the «vctl known east Dohuntitu pUDpot iheatte TJltAK lie ccdQbfaKQ the booour and mod esty of liie true puppOl •UOd Carvvr with the uidimi:ed anaglnaUOt) of liie five aitist.
Milan Knifak tborn lu-iOJ is another man whose activities reach into various art forms Ipainting. sculpture, fashion, photography, poetry, music, happenings and sn onV V/ith surpi-lsing pie^y by his standards, he has heen concerned with classical puppets by rural wood-oai"vers. both as a theoretician ar.d as a collector. In his work he sees a picturesquely "elaborated" toy a? a product of the world between fantasy and banality.
Cottmir SujPta (born 19521. is a wulotor and painter, ro candy workmp mostly wHh wood. In his aboraaUvo do sipner's theatre Kulotoi (Merry-go found one of the companies involved in Pra&ka* pclka the Praguo tive). he Ufcs puppet inaiine^uiiis ii: the sense of u uianipulal ed alter ego tfor exa:nplo. in ^anacj a vycpaadci. 1&82). In this Concept, the DUinncnjuhl wus manifest in several stiigo dosiajis for liie drama stage in the 1970s and i&Ws
The "inveHtigative" piayr.;lness and the pnnpe: theatre of Mehedsha by Petr Nik) ih. iflfifli was written about m Theatre l2-'Hb. We may place Nikl in prnsimity to Fi-anniek Skala junior (h. 19M& who is a member of the same artistic ensemble Tvrdohlavi. and is above all a sculptor. In addition to this he has made h:s own small puppet thestre our ol oflipis trmmbi making various beings out of wood (which hrings Vachal to mincll. W which m 5pH'> of paj'tiflj polychrome and apphcanons of other materials, he leaves in their shape and structure and in various 'abnormalities' the naturalness of the wood aj)d a domestic allegiance to a forest bestiary. He even devotes an internal source of
light to <om* models In order to Rive the::: a brighter light on their path tliruugh the fon»«
"Underf■ ■ ■    i acts und installs.)I ti. [rum the lWWs to 1WXK drew on lite inspiration and the effects of the non-traditional environment which was . hosen for them or into which llic.v were orderpd. Arhili unutiated the wb-jerr :n space 'landscape! in their pvrfenHBBM, Objects and soilplurvs installed m a n? ^.      ■ way save the ef tea of actor*, creating a situation by uvarartam with the eowroiunent ta).f the exhibition m the LtwtwTmvn court yards 111 IMIJ Some of them literally remind one of the obiecls oTKurt Cabauer and Michal Gabriel because of their iividcully buoyant polychrome work and Rjratcsq.ua porlrayuj of art Thi* relateilues* of an object with an act and a B*M war* admittedly Uispirwd by foreign trends in art Uui th* upacuV Czech environment added its dtt-nnctivv flavour elrunning irony (u a i -«.-i ■ ■■. to social absurdity with a deadly serious iacei and the desire for freedom of «pr**.*Jon which «u manked <and simultaneously provoked' by a disguise of "infantile" playfulness Again, ww encounter here "the motive of 'dissatisfaction' which may he tho impulse of an inclination towards the world ol the puppet The desire born behind the barriers of earth-bound circumstances is aimed !o«vartis an ideal devoid of human errors and foolishness
Invasion Iriornpholo de rrtarionnolto ©n Boheme
T c theatre de manoiiiielles bh tant qu activity proies-JLjsionnelle arriva dan* noire pays, aprc* lu guerre de trenie 10481. avec des troupe* angiaises.
oliemandes e: nalioace*, con: le rrAtfirtcl liunar. decime par U guerre fut rccphuU «1 lout ou oarOe par d*» paths MCteun mecaniquvs Cattl pratique de substitution qui
pardon en fan iu>q- « u ranaaaaanea d* fa manocnerw
de la tin do XTX"/ debut du XXMiecle. rvlejfUB If theatre da manonnetles en ir.urge des acttvites arUMtiqua* ou il devint cependunl populaire en taut que detraction accessible a un large public.
Ver* la fin du XVIII* Mecl*. les troupes ammilamos etrangCres son', remplarees par des tnariomsetiiMe* ■dUnoa Parrouran; i** campagaes avec leur* manun 1c*families d* manonneiistcs gagneni modcslc mom leurpain en nwnmuitl. unmeme tempt. (aptitude de la langue 'cheque & assmnerla fonctinn du langue Cullurelle. Jusqua la i *1    ..... moitie du XIX" siodo, cos theatres familiauv font uccucillis avec sympatliic el gra-ti'.ude par un public principBiement populaire Fur leur rapport original au* uffurt* educatife ils conlribuor-i a la renaissance nanonule IdsUque. Gas mahoniKlUstus de la reXBHaaaaca rationale serum dans la deuaivsx- —oitiadD
13
XIX" *i*rl* ďabord parodies par les lniŕlla<-iu*l*. pui» smr*r*m«nt appluudis á 1épuuue íle la mMteMMf ďir /a Morton^H innimUc. ullu ÚM par 1« mmll-vrutil*). 11« dŕvmn»nt un» lágendc qui, grate ä son etnotn wfyliiqu". iíŕ- pnuvMT quľflWurur los vtVMO C'esi \fait»] Knp«»rký H77S- i im?) qui pmoDoUi celie le>.ende ett*u i* *ym* bolo (III Oŕlftbre .tlwlre de m j.-j j::::.-: -i- I ŕ ľ■ "-'i la ren-VM-»nŕ» nitionsle. U invaillail <•-.<:< 5» f*mi!l# (Juir. k Sud (*-> U Bohéme: reíte rčgjjii coiuiue pour «*« íoiiullo de n\snňnn*tTMt«s et leurs riches «*ctiMltJ. avait >uc pcniUni au pi-M d-»* mnms des Cenní*, dva lo \'ord
du lu UohOiw; lies Šúchania. familkt dn MUlptoun »ur buis du Nuvď Puku)
Legende ol inspiration
I.k popularisation de celie l-"-Bt>nd* Kinu que lu furntv qu'rile pril est 1ocuvrc dun homm* iuu d« !■ tnúiac
r*jpon que U famiilĽ Kupecký, un mn-iiTi tanflif. nuĽs • ■ - * populaire de la rvnabsaixe nannnata. Mlkoiái Aká 1MB- Hlill.deainatcur.tarnaiui •'■    •• "■- lUleur d* lunette* pour le Ihtttn Kaiional do Pn%su* (ryckt la ftéÄA auf«ir d* fresques vt dc sKraíTiies qui d*"-o»»n:
: i
.i, ■ maisons rte PraRuc vi dt Plien. un de« premier* graphlstes trheqties M iu.v>ljí;tv.»ur invoInriiAirv A son íuur. cpi iriw* devini l'uctuur ďun* legende qui. plus lurd. servira * la filonfjcuticii commumste ri'un art -luiliu nuK fermentem lie au -puuplv. Al** MnveaaH uux
AH la CUltUľC 11 |UUlX*MÍI -. Iin* ■ -;r       (J .
larítw aupres de* masses aiiul que d* la reconnaissance C*» *p«n.ťi*:p«, [ Lr.-.ťlliv'ibilitP d* wr, ceuvru el sen ortaMdoR vers, les scjeis dľtaw des gens simples ne faisaiem pts de duuíc. bes quallt*- amstiqucs furent c*innrma>s par le lemps. U oálAbra at et fcrwrur les neros fl> Ihistoúv el des myth** tchequcs idčtuisa les mmpagnards. irunisar.i partou pánMfl] frappant les IMHUm ďufi humour morrianr Si la tendance d'AIes á   i m i    .■! Ui realitě, á ne pas la cuiiipliquer mals a ľ*f lalrerdunenote patriohqiieon suuriunlo.né'alt pas gratuilu eile óiait en revanrlie naturelle et spontanea inmpóréc pur son talent at wo Kuut Ľ univers de I« campAKiie lebóque. traité par Alpi iivee grace et dignitě ěiail b.eti different de ľutopie buCuUquc cultivée par les ansiocrales Mais eile n'etav pas not: plus un refie; «r*a-liste* dO la re«!hé. explication donace, plus rsrd. aus cicvvs á I ěpoque du socialisme Ln fail, cet univers naquit dM lUUlllIľl d'Alei de son enl'ance et de sa prlmo icunesse. seule periude UM 11 uit vraimem passet' u lu uunpiign*. souvenirs ideulisč* nur le plan humam et dun* In perspective de la renaissance nationale. Kopecký et *c» miuionnertes font ecalottwiil piinie du kaléidoícupu de M tableau* agreables sau» étre sennmenraux. dessi DOBI d una main taenvetikuiie *e luissani parfots empörter par un humour bartm le pc-rtrtut fletif de Marei Kopecký dresse p«r Ales n*e de 00 niurwanatixie populairc ľana^e d ua hero* d* la legende qui Jut partu presque couune un porlraii de ; -■--.annage tvvl.
Avunt Noel Iflll imand fa líunénw «i la Moravie taisuient encore partia d<- la moiiiuvhtu ausiro-hongroise. on vil uppiiľalf re snr lo tnatehé u premiéra sane des soldl-nanten manonnoUes d'Aleš. Cm nwionnetles, concuex pour des iMfU m de uiurionnett** familiaux ou scolairax ft řabnquee* dans lulelier d Antonín MOttxlKff, furent modelee*. pour la ptupan. par Karel Kobrle Plusieun wnes d* ce type de mar» n r.- r - • vetrom čutore le jour sous la merne appeUtiun. Lea manonnrtto d Akš. erxore aujourd"hui. senvnt Ce model*, ma«. Aleí alors seiapé-t-.: n■ s cm il ne rcsuiii ?...> OJB^M an á vivre. enesl-ll réellemeni lauteurľ Dans sa )*iir>esw Alei Mi dessin*. roinne. dócoupé cl collé sur du ration de* :r.uríonnett*s 11' f -   P<>ut tiure pluiniraux enfantsctesulogeuRe f l »771 et plus laid, en 1801. il avail fan la meine chose pour ses pi'OpfV* mute Cetaient I« onfaiit* qui jouaient avec les muriytinoľ.es. Aleš ne naitKiuail u ces jeux qu'orca-siontieHeme nt. II r.'esr pas ľouleur de OM rr^rionnef les les *erilables aureurs ont vmplcKieni ptis pour modele les marxnr.ettes plates ď Aleš el ses dessins lá cene epoque lá. ses dessins. surtoM *c* üliwrarions de chán sons populaires trhěqucs scrvaienl de modele á toule Mftc de produiw ďans indu*lt1el* tuls que pnchetlc*. fouluru*. vaisselle decorative, ele í. Aleš s'étant forte tttťiii inspire des manonnelle* chérias de son enfance cl uu v«ui coaslděrer l« ajcutiua commp une ióne dc ií ittlerprétation de celieš de \u ftunilla Knpackv, voire de ieurs aculptaurs. \fais du temps d* ľenťanre d'Aleš. les miľlonr.*n*s ětaient détá con*id*r**s avec un leger mepns •* rMfHM dans des pieces dramaítoxies urvs en
vogue, parodianl Ic styl» ob*iměmeni arcluúquu d« —.ahnnneüisies Matérii sas aympathicrs munifextes. la conception d Ale* de la manonnette porte, eile uussi. cenains attľibuls de dúformarinn parodique Itutus surdimfint.loniiée*i Lvh marlonnettes Cr6óc« dliprôs le* modales d*AloS sunt voltimaimment arxhaisanlcs wt naives. Malgró un certain ridinile. une cerluinc nlÉalaVlMC. ellesexpnm*m la heau:6el lefficacit*. voire meine jí magie du sriHe dV la renaissance natinnale. a:k aniwil les mar»nn*tt*s. mso il ne icur consarra pas sa viv Par centre neui qui oni suecumbé á we au cnarnie dc la -r.ur.irr-"- 1'oni dioisi pour patron *t -sans le savoir - pnur muscoite En effd. ur.e d*s mannn-nelič* uiles ďAlei -1* «arc Poui>!co:s ú barbe blanche ■ a la physionomie d'AI*< vioux Au debut. Iestervems de )a riiuiionnette prs-lqiMient lour pasüc-tempssue une base non prolessionn*lle.
La renaissance du Theatre de rnarkjnnenes
a la fin du XIX«/ debut du XX" siecie. uu combl* d* la passion pour les manonnettes ce som principal*m*n< les artistes qui soni ses imtiaieurs v, ses parrsans Des pc-imrcs e: des ctěcoraieur* deninem des défnrs mats au*si les marxinr,e:i*s lis loučili. Us rěcitenT- lis montenl des pieces. Des sciilptotii** ineclelen: des mannnnetios ul n'hesitent pas a se lancer duns d'autres aciiviies du lliúúlre de niarioniieueu CerlHins demeurenl rnsciiié* par la conception iradltlOJUlvlk comma les dŕíOraleu:s Karel Stapfer. Insef Wenl»t. les peintres et graph isles Adolf Kašpar. Anus Schemer, wtc D'autres eiplorent de* ionr.es et des possibililes aouvelles comme ľutbamsle Vladimir Zikreis, le peintni VV Skala. Ma-s lusqu á la premiere guerre mondiale. il n y anra pas de dlffcren t:ui:on esseimelk". révQiultunriair* *nm* řo» Paimi les ptal ictifs. il > a sutloul das dessinateurs huittvrJstus enmme 7deneK Kratochvil. HOQO BnetinRcr el plu» turd. Ondřej Sekora. de» puysiigistes - Oia Ruljeníěelt. Jiinislav Panuska el suiioul Ludialav Saloun. fondaleur du symbolisme Art nuuvcau qui IbIm* m trace daus le style plustique rte pluíieur; luunumenls rnmmemoratirs
I   j;,- Vri.i. Ianr.ee simant iu puruciondes «manonr.eUes d'Aleš-. vo:: paraltre les *ol disants Décors ďartistvs (cheques Iréedités dans le* anněes iO) sur Vmil .itive de Jindřich Veselý. thŕor,cieii et fervent de la manoiirtvlle. ill *i one n. folklonste. colicciiunneur. orgamsaleur 01 p:x>pagateur *.ui par »on travail systěmsnqne. posu le* des recherche* dun* lo domaine du ihOUlO de mwrionnettes Toul wiiuiic les tnannnnettes d'Alci. cus décors sont de^tiiiťs u ľócole *t á la maison U s'uglssait done ďun proict éducallf. Mame si cous ces urtlšles n'áraient pas durublement lié* am mariotuieUe». ils pnrent leur tácuc au xérteut *i s'efforcercm de la remplir au mteui. íeurs decor* d*vai*nt remplacer des produitt ■d* mauvais gwůt. all»-r.ands«. ľaceeni éum mis. dans resannéescavunl guerr*. phKAl sur ľepilhčíe -alt*marni, qu* >d<- itnuvall pouť L*s derors č tcháqu** hnem souvenl qualities d* refnrmateurs Lcspac* rtu petír theatre de marlonnettes cpil. lusque Lá. avail utilis* une copje réduilo du nysf*me baroque de decors Calli-Rihiena ful »nulioyö» grSra A la rčduCUoo de pilfll de decors L avant-scen*. OEMCM do maniere cubist*. *■« ľceuvre de řrantišeíc Kysela peintre. gniphisle e: sc*no /raphe qui participa á la premiere mise en scene drama taiue de lexpresstonnHmo Icheuue (Viktor Dyk. 7mt#<tt*ni
Ifl
cfťn u QuitOta l 'Assýgt&setnent dfl don Quichons su Městsko divadlo na Královských Vinohradech IflM, mise.en scéno f ranllÉčk ZavřeD T.e carartére général de ces décors est. měmo pour syn ípoc_ue. un compromis trěs raisonr.uble et niodéré II y a neanmoins une eiceptinn. tolérěe. sa-.s doulo. duÍOil qUll sapt de neprésenter un universeJTroyu-ble. cidui dc 1'Enfcr Le criUQtie dn quotidien Národní lisiy tunsiulc- -Cel onfer esl originál "oien que r.otre iděe dun Inforthéatralfóonque WH un neudiríerente -droie. ďune cortainc futuri Oji sad bien oue les damr.és y souťfrenl. mais les %urÍuos tí.0 (Uobles r.omÍqi]es rendent celte soullrtincc s>uppOítablo, ■»oire naiurelle...» Son rollégue du joumai NitodJií poUUka. mamfestenient "iTiiiblě. poussa ur. suupir timiuv- -Je ne sais pas si le pauvre (Juicnol n'aura pus lu ccuur SOfré au milieu de :outes ces chaudicres cíiaiifioes au roufle panni ces pérheurs gemissanls. tes mc::;bros cassós. devant ce las de crsr.es blsr.chís. tt il utsI pouitatil Iris COuraReux.'
Obsession de marionnette
CM Llifcr tauthciliar ďune Ime conpaftle et tnur™er.tee dor.t la substance fťaftile est Ruettée par des iantómes -lul crět par Josef Vácha] ÍIS9J - íOfiOV artisté a talents muhiples el attii de Veselí qu il aida á arrsnffer la collec-tton de diablos pour la premiére Cxposition de manon-nettesá Praguc on 1911
Josef Váchal étai: le lils naturel do JosuíAleS Lvice. :nstitiiteur patriote, propugalour du ski ol cousin du oélěhre 'artisté national- Mikohtf Aíoš: ol si los parenis de Vácha! avaient ete mariés. co dcniicr aurail oiíalenx-n; portě ie nnm ďAleš. Váchal est eniré tíans 1'hislOire du théátredemarionnettesau    :.•>ďunépisodo prese uO né£hsearie et il ne sembl*? pas qu'il I ail iiifluoíité de facon dlrCCtfi et impr.rtante évnlutior. 'jllériouro du gctire Son esprit inoulet. afiré par le spiritisme, 1'ésolorisme. le satanisme mais aussi par des cenres marginaux lota que les CbanSOTiS de íoire 011 > roman noir. es: i.ri::. si pivdio du tnonde de la maiionnerte - n* morceau do biiis animé pOUVODl dcvcnír aussi nier, ur. jouet ■ quuno idole výtiítéc • QU il nons paraítii:i":enouseulement do le ítionlionner mats de. le soulifiner. Cfl personnage. ti ťopposó do son onele MíVroláí. était non aeulemer.: rtiěpřsé par le i">c,uiie cornmiiniste. mais tahouisé comme porlour duno cetilaKiOn ďun andenamrě. A lexception ďune ires courle periOllc dc -dégel- dans les ar.nées Bi). il n'a iumois róussi au couvs d6 sa carnére ďaniste. á s'ímpDst;r. ťlus tard. á parUi' des années mfin. ti detint prescu une mode. kyanl ďauoKl un goOt dn rruit děfendti Las paisibles ámos tradUioiinahsles !<■ trouvaienr trnp dérhirarit et trap a^rossif. les prytíramtnes des conrants moderně*, trop dechirant ol. do plus. voloniaicement archaique. II était origina.1 au se:'.s oxlrátte ílu rriOí Sauf un conn épisede de parUcípatiei; a rusSOciallOfl do sym-hohstes SDŘSUM loú i! arr.er.u Veselý ooiiuito ihúoriCienl. Vádial ň)T un snlitaire sociál el artistíquo. itlisaillhropo ronrentré uniquement á ses propres vbiOM. Ses cuntadS avač le monde des marionnettes datem du dóbut de sa cavněi'e nu il était rapabfe et prěl a sortii' de sou luiivcrs déia ongmal et r.jde pnur -comrr.uniquor* A part los dé-coib df 1'^nfpr, il 9 ffibríquě pour son umí Vcsuljí pli&icurs :nariOnnettes desrinees riiutót á enricbir iu collocliun de Jliistoncn et á étre evposěes. I.es motifs carattóristiques du Ihéairc do manonnettes rnmme r aust e; le diablo appaniissenl éRaleniem dians ses irylograpnies aya-.t pour
ie
sujel le thěatre de marionnettes purues dans la revue CesAíí io.tií.tďN liWňrin?;í;eMisi!? Ichájuť). Ccs Iravaux sur bois iJlaient accompagněs de scénes pitlorosquos de marionnenes tirées. prétendumeni. de iu produclioii de niartOiuietlistes pí>pulaireí. Parmi ces marionnettes Uúllěus
verš 1911 ■ on tronve la fistirine du tJr.ome. II s'a^it do 1ti sculptuťO ďun pettr étre farctsscue aux membros defor més quj ne potivaň se mnnvnir qu'avec ditllcullo Plutót quuno rtiarionneite prnpreiTient dite ceat uti symbole do iiiaíiuiinelle - un eire mystérieti* en bois. La raison qui ti aiiieiió Veselý á aborder Var hal. peu communicalif. ólait. onlre aulres. le rapport mtime itant cet homme univorsel au bois Dans le* encyclnpědies. le nom de Váchal esl tittuJiipaKiié dc toute une série ďactivités: peintre. gnmhisto ixylu^-aphio. xylORiyphie. linngravure. gravure aur liége. gtavuix' si 1'oau forte. B1C.I. snilpfeur sur bois. typugrapho. reliouit cotivam. On pem constater que pour Vůcánl le tnivaij du bois éiai! priniordial. Pour ses livrea volumincux qui páraissaicni en enelíiues evemplaires settlement, il tróail, principále ment par le métr.cde de xylognipřuo. nc-n souleniont dCS illustrations mais aussi des caractěres ^citiiísasit^. Un tle SOS Clliqnes
roii-irare cu'il gravail lout tu qui lul lotnbali souš la main.
li sculptait non seulement dos síalueltes. jnoJi aussi des pipes. des cannes ou des presse papiers. il firavau ses nievihles et ceuí de ses amis. Sur les meubles 0.0 sójí ntecene Josef Porr.man de Litomyšl, il a gravó u:i ópouvatitablc
sxbbs-- de petite* (reaturcs doni lu regard empěrhe le plus gntrjl dormenr o> lermcr 1 ceil
A premier*; vu». II n'y a pa* d'amnii* artislique vatrv Váchal 01 wn oncia AIM. Mai* MMfQOt GCXdiniiXT hsur* rapports de plu* pr**. VHohsl ěprouvait peu d affection pour son pure. I'ar contra, il wttttHŘ Mikoláš AJci. non OJicJc. lui renduit vl*ite a hit et ä sa famillc cl s'umusait liion en id compagnl*. Dan* les moinoircs hargneus«* tPamélil écrite* par im Vaeliol sartastique et dé|ä alfri Ales es! une de* rare* períonnes donl U parie favorable-ment et aver une rename chalcur Lour univers artistitiii*. á tous lesdeuT. *t.*it ihondainmculpeuplé dun ensemble de personnsjie* plus Ou moliu Hit. et la construction ayszematique de cet univers kur permettait de rharmer e; de fasclner - ľun ,\ I    helle des masses, ľaiitre a ľécbelle individuelle Mals un pcuplement v.
;i- il »eil n'arrive pas ä fouvnt toule la surface Lá od ti ny a ■-    cc figure, its rombleni ďun onicincnl ou de leiic cc qui n'est pas sans rapneller ľhonvur orivntsle du wdc Bi Mt. il sag« de 1a tendance ľ Art nouveau dc lopoquc. qui était d'nrner *t de dócorvľ. diavun ii sa maniere, tons lesrecoinsde In vie Ftdelesů. tulle tendance. Vacha! ei Aleš infiuencsien" le dommne de> objetu cou-luiils Si lu stylisatfon aniMitiuc Arl nuuvuiu (gout pour 1 OfHUMHlt expression superflciollo Ol liliiiaire) íut anií-dpé* par Aleš. pour Var.hal cíle coiistiluuii le point de ucpart Maische? ľun comiiic- che* 1'uulre. cest 1'indivi-tlualltě qui ľemporre súr le style
lei petvienagcs ďAleš. hlen qu tdeall*** Ou legčrcment caricatures, viennent du moride de* vivanl* Ccux. de Vacha) rtunaal du monde d#t ■ ■ i > -■ ei metne sil y a des bommes. ceux-ci «raufTren!. ďune déíertnauoc
ŕrar.liick Vftck, t.* niaríonncite puir tu piéif. tU- Qd» ltŕiiť* In jlfíie du maiire des nos I Divadlo DRAK.
Hradce Králové 1970 Pboto/a* Mena
ď express! or. muses par untf possLiiiu:: diabolíquo ou snmnambuíesque. Aieš éta'ú purthan dus ídéuux do la Renaissance. Váchai, lui. ne suppurttiit oľs in iiuidémtiun de la Renaissance et penchail vers 1c golhiquc cl le mys-ticisme du baroque. Aieš éiaii ľarlisUi du jour, Váulia) celu) de la null. La rapport er.ire Aleš ml les JiiHrioiuicUc* avair une orientation folklorique et idealistu. Vúchul envisageait la marionnette du poir.t de vue du spirilismu. cpmme un aire de ľautre monde. Sa msrionnelio prúíe ree était. sans rinute. la dianie. On ntrntva ceiui-c: dtins SŕS Äľavyras- ses fans fortes, sea peiniure?;. Selor. sei propľes dires. les reflexions sisr re phenomena ľoctupsient do jour 01 de nun oepws. sa prime jeunesse len lant
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qu'appnerUi il doisinau deja des diablesl. II prenait ce sujei au seneuv meme s'il y s|nurait sa propre grimace sarcastiQue Dan? une tie ns gravures PotecMot, intitulee lo UtnttgO dim xylograph" tin Orbis pictus !932>, il se repiOf-Oi.lO lul-mtaw en tram d'exer.uter une gravure ■Que lo dUtbk on nersonne imprime sons la pre.ise de Vachal ■■. en somme un rapport rie rnnfrererie et raesie d'umiliO Pour Vachal, I'linivters des etres. des aiiimau-t ot des dieses suriiamrels eta.it une alternative du mnr.de dun homines od il ne so soman pas ires a raise. Dans son inturpreiaUuu. los pcr&onnaftef -non humains-. y enm-pris Jcs moris. upparaissenl plus vivanw let parfois plus tolorOi) quo les vnus vfvafUS iliive dun mort. ifjifll. A r.e
SUftt, it est inloressanl dorappolor un passagedc J'essai d'Edward GordOD Craig I'acJoMrt! la iurmarionnv!',? HOPS! .Jo Irouvo lot funtoiiios plus beaux ul plus pleins de vie duo les homilies ut ICS .'emmes.. Or. rM peul pulsar Utispiraiion duns quolquo those qui est privc du soleil de la vie Mais duns cel univers mystérie ux. tnii et ttntOUt ploin de vie que I u:: appe.io la inorl - dans ctíte vig ď ombre; W de formou ír.cunnuci qui n'est pourtar.f pas que Ictiobros cl brouillurds ... mais aussi couleurs vivos, Iuiiiicn: vivu, forrr.es ciuires. distinctes..-.
La mcrionnette st r avant-garde arMsfiQue
I.s detméme exaosiUon dle matíuniiultus. urgunisóc encore grace a Vesel.* on 19? I 1922. Jie ful pus souiomen". tine retrospective commc c'ctait io cus do 1 exposition de 1311. mail anss> line revue do tendances oi d Inspirations nniivelles. TOutcfoís, selon les critiques, le plus grunc. surr.és dř ^'exposition ful une culloclio:; de diubles coneus pluto) -áranCiOiinevoucelui do Váchu! occupait line Juste, place Lcs rapporteurs de 1 exposition se demanderoiit en quoi consistait lossenticl do la marion-ncUC: poutquoi 1 Odour pouvait numer la rr.srionnette. mais quo telle ti EH) pu'jvuii pus imiter lacieur: er. quo: consistait lerrcur des decors réaiistes. etc. Finslement. on rat&UnruuL on. ISohóme- sur la marionette dans ie cuuloxte du XX'siecle. Le public examica avec une crar.de iitlonliun leatotes express:onmstes grimscanres aeees pur Juscf S^upa pour des niarionnettes a gam. On uccucillit favorablemcnt Is rncdemisme mndérě des projels de decors pour les theatres de marinnnettes. dessines par Ladisiav Sutnar ilea. - \%7b>. craphiste.
dessim------■ industrie!, architect dinténeur et ďev.pos*
lions. e*. scénographe Sutriar s'oncupail system atirpie-mont de r-arlonrtetles el trršte á rela. il MMtit adapter ses vues esthétiques et sa conception anistique modernisté aux besoins des theatres fie inarionneites famillaux el scoiaires orienrěs revs la perception de 1'enfant specut teur et metteur en scene. I-es nombreuses actlvttus do Sutnar comprenaient egiie-ment des proiOls du iuuuts en hoisriessinespnur Anel Mním • 1534' association ďailislos de pkisieurs dnniawes des A rts applttnios. qui cúiifonucittont any- tendances de 1"An nou veau chorchaionl a umóliorer le niveau avtistione oes ohieis cowanlS- suIuji rcslhOlique modeme rie^heauv-ans Au cours de M vi;ii;udiie ďamiéus ^'existence, cetre asiooaiion a oiolue du cubisme uu ronrtinniiahsme en pasani par io ro;idyi;ubJsmo detoratif l.e maffastn d'Ai tei vendail tuule sorlo do produits -bilOUiene souveiui-s. vent. cerii;:iique. meubles Mais on y irouvail aussj des iuuots trt des marionnellos s'inspirani de la COncopHun simple du juuel populaire.
Lcs criliquos qui montionněrent la partiriparion de I'arc'ni-icWu Jiři Krona á la deu«érne e\pnsií:ion de mannnnettes. ómíronl des jugerr.ent embarrasěs sir.on pen flatteiirs; '...co clésagréable esprit de l'e\pressionnisme sliRmani; se Iraduil dans le -theatre des choses> qui est tm proiei trop iitléraire - trop licti;...- ISiraŽ dsí. sníiaíř.ímtjl. Kruhu étaii sans doute le seul pflmii íes ennnsaiKs a avoir írujichemen; provec^jé. A psrr ses marionnertes platíš caie lucritique r.s pas trouvées isymp.ithií)ties>. ii expafait :e Chevalier en boSíes. ňp. rjniísnís. la M&re des marmUcs Monsieur Petitebcite ainsi mie ď.tntres représenumis du •thěáire des rhoses-. Comnie cfce' Vácha' ceiie iilCursiOii de Kroha dans ":e theatre de manonnenes est cpisoiliquo Ni l'un ni 1'auire n'ont n'mfluence direcic sur le georo,
mais la liaison de leur        i.iu:' • ■■ créatnce avec la marionnetie est fore et sympiomacone. I.eors pctotl ce depan sont rependsr.t diaměrralemeni oppoíés Vůehal esc un magirien plongé Hans l#.s profondems du passé. Kroha es; un partisan et ud pronioteii" de courani$ d avanr-earde dans leur former tmiííhěe* 'en larchiioc-tura. il est passe tra ciihohinirisme au purisme nulitami Bier, fjue šon Ran Tmlíse *tve wcňinpů^ne ůV plu-Jieui-s arrihurs - peinire. sctilpieur. 5c6nořraplio. Itióorioie:: son rentre ďmléret et ďactwllé estlattlúlotluiv Sos eftleurements av^c le nionde des matjoimollos sunt hés a on episode plus contlu do s-a vie. a sen iruniil do scéno-Rraphe dans les annoes 1P21   1023 Sos prujets scéno-ftraphiQues marquos par ují oxli*ěiiiisine ulopiquc n ont élé r^ahW-S itu'er. párUQ et a^ prix de tenuin: cu^.prw.-r.is ou bien íl& on) íié ahandojuiój Malgií cela. Kroha s'es; insem darts 1'hislOiro do Ui scónupaphie tchěque modeme. F-í plus courl est lo sillou qu il a '.nice, plus profor-d es: il. Sa conceplion du Ihóáli-o OSt cOrOdunWOt Jiče au phéno-nii>nede la :::wjíoiuioUo. Ony volt.en ťllet. la poursuite du tvvc de Cruig do in surmuriur.ne*.te. mais dépourvue du sy:;iboJisnie Iř.lórain: et sp:ri:uiíl. transťcrměe selor. los priiioipcs de labstraclion dépersonnalisée cles fiitii-rislos iialicns tt'c*rlunalo Depem' ei du Bsuhaus allemand iOsoar iunlernmen. Uar.s le style. Kroha s'eitbi'cai* ďohtenii uno unitě absoiue de ia scéně et de iacteur íjtii n-mpiisse. suns roplique et .sans erreur humaine. son role oe coni-posunto plasiioue mobile. ďéLément de consmiction ďune architecture dynamisěe. íies exigences '.".s-á-vis de la scéně par.aient en méme temps sur I'enpression ei sur le mauvement. II s'scit de la nrerr^ieie vision de 11 stene cinetique dans ie thesrre dramatique rchěínie. Qui. luuiefois. na pas pu ětre accřpTée psr la scene orficlelle á cause de :inrrans:cear.ce de sa ronceprirjr, suppowtll la mattrise sbsolue et la řonmiMion de 1'acieur. En efíet, Krnha a essayě de réalisev ses pricipaies ConcopUons .^cénographin-ues au Th^áire Madona) de Prague CAi-iošl r>.-ofák - 1-ariisiav Klima .Matéj corfivý MomOS !v a-ebo isi^a. mise en scéně Vojla Nov^k) ol au Ihóáli-o Švanda deSm'rhoviChi'tStian Dieirn:: Graobo: ílaiíírrie. saíire. imtíjc ef sigrttíicaiion cachée. 1W3. mis on scene par Jan Bor). done dsns den-; cho&iros plus ou moins offioieli. íAprés la g° ffuenv mondialo. lu concopliun cinótiquo du I* scene efl developpOe. aveu des muyens lethniquos modemes. par Josef Svoboda >
En oSel. co n oUiit pas la premitíre vision rchěque cherchant asoanetlre le personnage de f acteura la conception de ís. soonotíraphie el de la mise en scene. Cétait égaiemeni liděede Karel Hugo Hilar íliiéis - 131«. chef de la section dramallque du Theatre National de Prague dans 'es années lH21-:ťil et de son scénogiaphe Vlastislav Hoůiian ílBBl - \m\). Tons rieiis précTiaient. en théorie en pratique etan hom de Iftypressionlsme. une conception sculpturale du personnage de 1'acieur Josef Čapek et Sedřkh Feuerstein. pour sou!i«nerla ElylisatiOJi scěnngraphique. cherchérent éxalement á faconnor le personnage de I'acteur par le costume ©t le musque
On veil quo la tnaiionnolle quJ est suscepllble ďévoouer des áisotiutiuns do fnigiiiii; enianline peui aussi hipn doveuii- le refuse de rebolles el ďexpěrimentateurs. Los pródócessours uinsi que les successeurs de ("rsig savaíenl bien quo la marionnetie ě:ait non seuíement un act cur ideal mais aussi un <noyau' ideal de Vimage. docile
19
e; fidéie. Hl pour Carlisle, un objet ťascinant puisque capable de rnou.vem.ent. Craig. Hiiar et d'autres étaier.t des tnetteurs en scéne mecontems. lis étaier.t de eeux qui cherrhent á nbtenir rirnipossible (Hilar aurai: demandé ä un acteur de sauter et dfi renter, per-dar.t un mement, immobile dans i air). Les artistes qui se tournent vers la marionnette ne sont pas nécessalrement <m eContents*, rosia iiTi pent voir cha? f us unc snrte ďinquiátods; une sorte de désir ri'erhapper tin instant am contraintes de leuľ genre. Penr-étre cetK ejui. dans le mnnde ries maiion-nettes. chercbaiew un herceau réconfoŕtani ou tine tradition rěvérée. ont-ils sunromhě a la dimension magique riu phéooměne do la manonneue. C'étaieni et ce sont des adorateurs bumbles ou fouffdewt d'uloles. lis aimem louer, ils réveM de ľodeurel do la terre dune grotte mexplorée.
Le passe recent
Le dóvoloppumen: des ails plusliques apres la 2" yuenx: tuortdiaic a purttiis ä la uiarioiuicllo dc fairc vidoir luut son allrait Depuis las tmnCes GO se Iľísuí: scniirtinns lu monde enlitr un certain cllaoemuni des fronlierts sčparanl les Citťérer.ts. genres, c.ui se dérouiaít dans la vie cukurelle tcheque opprímée poJidquement e: idéolo-giquement. surtout aa niveau de ['underground ou de ľeícentricité tolérée tacitement et avec raneune. La marionneľ.e lou sa mutation) a permis de communiquer avec un parter.aire -innoc«nt>. franc ď obligations idéolo-cicues. qui a lane place ferme dar.s la tradition de Is. culture tchéque sinsi que dans le monde irrationnel desldées atíranrhies.
Jan Svankmaier Cné en ID3-1). representant du surrealisme ifínkiue dans lo čomaiiie des ans piasiuiucs ei du cinema. Dl sos etudes de ihcáirc do marioiineties u ľ Academic des Ans Draittaiiquos de Prague ce qui ďcsl pas suns importance pour sun 03i»m Certains de ses illins acuities ou combúiés puiseril lours Ihcmos directi.'::.>:n: dans le inotid-c des EtiuríonneUos qui sont representees dans unc version hisioristmte et vuos par un surrealistu eomme archetype uu subcunscienl leť. Leréce faun). Les ubjels taclilos et les aulres objets qui! a imagines oni le curaciure de |ouets pour les atiultes á qui le jeu perme; de neutraliser des obsessions relbuiěes icf. ie film Spiklenci xiasti  les Conjures du plalsir. égaltmenl creation libre).
Fra«osek Vftek es; un personnage raďcalemem different. En lant quo sculpiewr sur bois qui s'est fait connaitre comme marionnettisie. il aborde le bois. le visage ou le corps en bois comme un individu H se comporte avec la marionnciie comme si c'óJaii un enfant i|ui a besom ďoide mais qui. ä )a fois. a le droit ä sa ptopro vie Les spectacles cjuil oi-Kanise uvec sa femrne Veta rUcarovái inuiionnetlisle. aiiiste et mciieur en scíate. sunl des ritueís inliniĽs donl ľambiiince quasi ľatnílíale esl pattayee par des :íveurs adulles el des u:ífanls cicieus Vilek qui aulre íois aval! travaíllú coímnc seóiiuŕ^JJ«e du Iheúlre de niariuiitielles DHAK. lliéúíro ivpulé siěge<utl en Cuiiónie de i'Ľsl. réunit la prebilo el íti niodeslie d un vrai seuip leur de ~.tirío:irtetles el Iti lunutisie iliirnílée ďun urlisle
Milan Kniŕák iné en ia-10) est également un personnage dont les ac-ivítés débnrdent sur plusieurs domaines de ľan ípeinttn'e. sctilpnire. mode, phorographie. pcésie. musique.
"appeninir. etc.!. Avec une piáté peu habítuelie ches luí. il collectíonne les marionnettes classiques ďartisans campagnartís et fait des recherches dans ce domaine. Dans Si>n reuvre. i! concoit le j ouet piitoresquement choisi et -traité>. comme un produic d*un univers ;ntenr.éd:aire entre ia fanraisle et la banalite.
Cowmíľ5uiXa nosil scuiDioimni peintreiravaillani. ces dernieti leraps, principal činení avec le bois. uUUsatt dans son llieäirc le KuloloC tun des etisembles du Cínq dc Prague  Praíská pílka) un punlin peisoniuTiUiil un oiler ego iiiatúpuló (of. ťundei« vyzíM.ňúci. I0S2* Dans la mčiito Conception, le manr.cquiii tippunul égalomeiil dans la scônegraptiie de cor'laines pieoes tie Ihéälre des annôes 70-80.
Les 'recherches badines* et Ip rbéátre de marionnettes \fehedaha de Petr Nikl font ľohjet dun article de r.ntre revue (Theatre l*J/9ťll. Proche de \ik'.. on peu: situer FranrišeJi Skála pminr í 1 SRr>>. inembre du merne groupe ci'amstes T\-rdohlavi' lies 0h$rinés> et avant tout smilpteur. Ce dernier construisn un cliéátre de marionnettes avec des moiceau* de ix»is de formes puioresques le bois Un servaii ä fabriQuer des creatures variées fco qui nous fail penser a vadiali A part unc polycJiľomie patiielle et dos aiouis ďaulres maióriaiu. il Laissc aus morceauj; dc bois leur fortue. leur slrucluro el lem's anomalies naturolles qui los prídoslinetit ä apparlvnir au bestiaire de la forŕt U en dule merne ccrlaíns d>ui éclairune inlerne afii) qu'ils puissciil ■. ■. i ; i í en::. .i j 11 -.it: i dans la forfl
Les spectacles et les installations <undergrour.d> des années    - Bíí devaient leur inspiration et ieur eŕtet au milieu nor. rraditíonnel que les nrgsnisateurs avaient choisi ou qu'on avaient oíficiellement chois; pour env. Parfols. les performances plastiques étaien; basées sur ľanimanon de ľob|er. dans ľespace on dans le paysage. Des i^>|ets et des sculptures i nstallés d'une maniere inédite donnaieni ľillusion d'acteurs créant tme siiuation dans I"interaction avec le milieu ícf. ľesposmon Woio-sí'u'tsA;ť tfvwky ks Cows cfu ouďtier (Je Malá Strana 1981), Grace A lour polychroniie iiôiulaoieet leur repré-seniaiion ŕroiesquc. ccriains de ces obiets rappclaient liUórulumcnl une (r.arionnclle icf les objeis de Kurí C^bauer. de Michal Gabriel) S'll est vrai que celte afC oilo de ľobjet plastiquc avec ľaction. le jeu. s'esi mspi-rOe de couranls artistiques rtranfters. ľenviroiinemenl spétiCquc loíiôque lui a doiictó ua goúl original d'ironie sumuise len réagissail ä la rúaliló sociále ávOC une Cgure grave el immobile...) cl de dósir de liberie d'cxpressiou qui se díssimulalL lout en pruvoquar.l. sous le masque de -badinage infantile-. Nous vuilá encore en presence du motif de mécontentement qui fait que ľon pencha vers la marionnette. Ce désir qui es: ně derriere ľenceinte d'une condition terre a lerre visait un ideal aťíranchi d'erreurs et de folies humaines.
2 Ú
"/V
l/e /r%2X%2^
Jaroslav Blecha
f» misek Kysela. ptOMcniiiiii ľm ihr -*fie» Sctittiy dr Czecb Artist*. 191.*
HM iíi'fOi A'r'xi'Hilicr
The ("zee h itinerant mui'luncttc theatre, which in 1« time carried out an inipurtunl social mission of being the only Czech profession-*] theatre, has since around the nans been lusiim Us original function. natlng. suffennx a decline ka uudier.' - - and jn~aduall ciMppeantiK Most of the professional puppeteers have been incapable of overcoming ancestral traditions and adanorifr to new >evtal putiical and arnsac nrnimslanco
Tho means of expression of thenr type of llieiiliv wore allen tu thusu who were demanding reall-iin und mod Oinbm Puppets and stage were marked by a fixed con-u'pliott lltuir unaltered style of production unwittingly, it is true inclined to the symholir nature of puppet iheatre. but basically "hey imitated the- theatre uf living actors Nevertheless, production* by itinerant puppeteers were still able to survive in a detected form akaigwce new ien-
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mi "sk:ib. dcrign lni Storcb > <ž<xb i'uppi'? timidvjoi-the liviilii 1'iaguc 102<> i Motavfclfl .Museum Brno
Pbvio M:!vi IWil
denries for the first thirty years of this century lUOCf&Ot puppet theatre has Used certain used conventions in the ronscinusness of the entire nation by means of its uurisid erable popularity und established the technique of puppetry fur a lime almost us long as the canon And this has occurred :r. spit? of the fact thai in the iSflus in the Oerh lands there were attempts to parody traditional puppet theatre in many creative genres miiiuly i:s primitive n'.ays and "he lofty style of acting.
The reform movement which occurred in the contest of the development of amateur puppet theatre at the end of the nineteenth century brought a change in the repertoire, with moro varied jubiect matter of a higher n.uahty. The nature of Die theatre its-elf however did not basically change: it remained loyal to the marionette and to the baroque loon Of proscenium staging with back-drop, wings borders and from Curtain. Amateur association and school puppet theatres came into being, which usually started off by taking over the slock of a professional puppeteer why was dosing down. Tliey were exclusively aimed at children, and one of (how characteristics was a tendency- to instruct aad educate The founders were mostly the brunches of the national Sokol organisation lone of the first Sokol theatres came into being in 1374 in Kouřimi end later the Workers' Physical Training Union and the rioman Catholic physical education organisation Orel Iser up to counterbtilar.ee ihe popularity of Sokol). People such as Ludmila 1 tesařova and 1'ranlišek llausur made a senous attempt to use puppet theatre as an instrument of education. Important cultural impulses of the time reinforced a conservative concept uf style for t.ha mass development of ihe amateur puppet theatre, including for example the Ethnographic Czechoslovak Exhibition in Prague in IBflS, the anniversary celebrations of the birth of Matěj Kopecký in l»i?f>. and especially the Exhibition of Puppetry at Prague's r.thr.ngrephic Museum in 1911 and A mostka Koj>efkás performances in Prague's Merkur lMercurj'Theatre>in Milí and I9i:i. In the laaus hundreds of association and school theatres existed in
the C'7ech lands. Four of them were of substantial signifi-ranre tor the development oť Czech puppet theatre due to their exceptionally high standard. These were the Divadlo Feriálnich csad ("summer camp tboalro*) in Pilsen. the Umělecká loutková scěna '.Art Puppet Stage) In Prague and the Říše loutek IKeulm of Puppets) in Prague.
Domestic puppet theatre as a special phenomenon within the history of puppet theatre developed concuremly with amateur puppet theatre. In the Czech lands it attained popularity and was widespread. The exceptional preoccupation wtt'n immature paper theatres in the form of cut out sheets, which we know existed in many countries at the beginning of the last century, certainly stimulated the general romantic popularity of the theatre among the middle classes ir, the era of Redermeiersrii. Theatres wore sold in the form of reproduced sheers of coloured wood engravings or chromolithographs The sheets contained reproduced miniatures of a proscenium arch, borders, and front curtain from an actual theatre, as well as the scenery from ii successful production thai wag running at the time, together wilh Die cheraocrs The publication was usually linked to the prumieie The first ■uch theatres tended to have .. merely decorative function Later the sheets were supplemented by directions on how to put them together, with the tests of a variety of different plays and instructions on how lo perform with them. It was assumed that their use was theatrical These forms of diversion were particularly widespread among middle- and upper-middle class families Whj]st in .surrounding lands, domestic puppci theati-es remained the privilege of the nubility and the middle classes, in Die O.ech lands they gradually became widespreau urn '.n-. the populace at large. The earliest factory products of this kind came from Germany. Austria and France. Ihe names of companies making rhem included Mauhaus mid Josef Trentsensky in Vienna-. Gustav Kiihn of Neu-Ruppin. Oehmigke & Riemschneider of Neu-Kuppin. Rob rah n & Co. of Magdehurfi:. .1 F. Kchreiber oi Esslitígen. J SíhoTť of Main? and Mon "Theatre of Paris. Germany produced most of them. There were about fifty publishing houses in existence which specialised in producing the Diealies in German speakin r territories, The products of individual companies varied »n quality, One may encounter naive lastcless works made, of poor-o,nality paper, but many products are perfect m terms of their formation una reproduction. Generally, such theatres are marked by a deep space between the proscenium arch and the back drop, several rows of wings Often connected by-borders, a realistically portrayed concept of Mage sets filled to bursting point wilh imposing o.\tettor and interior architecture in perspective, together with landscape scenery and a great deal ol utuiocossaiy detail including painted furniture, etc.*
Domestic theatres were produced and created even In homes, as a rale thanks lo en outstanding artistic personality in the family, who at limes would get involved in serial production. In this way. for example, the grandiose theatre of the Schemer brothers from Di Josef Schemer's family originated in Prague Artuš Schctriur. 0 painter, created the proscenium arch, the front curtain and Die scenery. He also cut out and painted the heads of most of the puppets. He applied aspects of this theatre later in a set made for the publisher.!. £1. Vilímek.9 In 1910.* the
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sculptor litinu* r'olkman rtwrte a theatre for hra thiWrtli witli i.      <j puppet* alter *.!* nwn desipxs Ibis Mock b»-rtiWT Um bani* of the —UlmoMll theatre Art Lductllioi Theatre 1-uikrr.nn al*o mata the mncels for Ií:c heuds "I puppets produced in seně* for the company Modrý fit Žundu and designed tne COMUmM for ihem a whole series ol similar examples could *1«a he mentioned. These art Ms <vere in fuel the only professionals lin the sense of being quulificd) who had a pun in lho formation and develop-ment of amateur and domosiic puppet IhlWtri The level of its design, thereforo exceeded the other elements —any time* over Bad in ihe end determined the s-yle.
Tee earlie<i C/Cih xciicry of smai! format MA aback gTOU "i ■■' vi * ?| ,111 -u> osuic. in !8<H by the publish::.v. house KaklatUlcbUi J 11 YUUnek in the ser>es Kmho«)m Msiéhn rtenáře tlhc Small Header's Library: It concerned mar sheets willl prostcniurr. arch and a set with a wllaao square and i w« dimenxor-iu figures for the play ?on rVciflt z* 2Um.hu í4f> frunt oř tne Manor Housfl They won printed to) black ujkI while with the instruction "to be cut ma and painted' Their maker was Karel Stapfcr Almost all the topics uflhl* piece, however, were burnt In u
small rolleaion of sculpted movable puppet* *M cm in heighi). which however did nol go on to be produced Karel Kohrle succeeded, un in* other hand with smaller puppets ofsi«-25eni bused on Ales'* pictures They wore un out standing example o.'a designer's creation The PHajao company of Anloiiiii Munzburtf caught on to ihem and m IBia the first scries wenl on salt* at Springer's Ceske li'lovp kniliku.pvtiv; iCaKb Popular nonkshopl Tlic ui; proportion between the head inri hody of ihc puppets wa* interesting in that k gave them a specifically humorous Oppression and distinctive also ^-nsthpir concise modelling and careful attention ro cost am* They became known as Alois puppets. By Ihe end of 1Q1A over eighty types of well puppets ■avi ■ existence?
ZcWnek tteidner made the finl Overt theatre tconstsrmg of a proscenium arch ard scenes for Aici > puppets! in 1912. bawd nn designs by Rudolf Livura matte by sucking coloured papers on to canvat Compiitutcd technology and h:gh cnsis. however, rendered serial production impossible. Only some copies wvtv made.1 Some elements of this theatre, for example lire shallow spare and the uvncaiive stylisaiion. indicated a certain sonographic
Artuš Sct*'»wr) Slipper Ibťítli i-h^lWitoMj. lluuai J K \iiHiiek Fnla l«w \|r<ri«ijn Mu*eu.a ť.l- : PtxiM, \liť-i (Niř
lire al Vjlimvk » warehou**- and a now edition did not materialine.'Thu Cz#ch Assonanon of tho l'riends ol Puppet Thenlrw. whlfh w»s founded in 1911. slimulatod and supported lht» Idea of creating and manufacturing a purely Czech domesttr puppet theatre that could competi* »ilh products from abroad. Mlkolas Ales, u puintwr. was also u member of the Aswiarion Puppetry motiSi occupied an important position in      work lib piclures became the models of the nr«t C/ech series of manufactured puppet*. In mta.with Malt agreement Jowf Se:r.o<t a sculpt or. made the models for the Association of the fW
reform in this area An effort toward* this was also made hy the authors of fJefeorac* čvshých umfllcil (Sc<meiy by CMCh Amies' A Vilek issued Ih* ňr*t «eries m 1913 This consisted of six to ninu- colour lithographs made by the Academy painter Jaroslav Prochéxka after designs hy Czech professional] urtists. The new proscenium arch, drapes, borders, front curtain *nd one of the scene chart Res were made by ťntatišek Kysela, while ihe designers Of the remaining items of scenery were Adolf Kašpar. Jaroslav Punuška. Josef Weni;. laroslav Procháíka Ota Rubenícek and Stanislav Lnle>k For its hitth artistic
"-3
Standard, this .senes of v age sees won sii award í: the World Exhibition of Prints in i.eip7ig. From an artistic point of view, the superb individual proscenium theatre by Franttieh Kysela. conceived in a cubist style. is one of the best to have been produced in the ňeld. Tne Antonín MUnabeiíccompans1 offered three successive high-quality series of printed scenes. The ňrrn Potrus Hater Modrý &
2-mk\í\, and finally Mane PfeafoyS with. Mpyrtght on the brand name "Marten*! also offered a series. After ling Lbo uoiupuiiy JEKA <Jan and Fliika Králi were also printing these Stage »M All these companies were bused in Prague, although JEKA moved their base to MďeUCu bi :025. Later designers included Ferdinand Pre-kup. Maryiui Alewjvá Svobuduvá. Josef Váchal ťardinand EngBlmuJlcr, Jaroslav Kv6l. Ladislav Novák, Mas tteháC Uohiuiiii Vágncr JOSOl Skúpa. Karol Stapfcr. Víl Skúlu. Ladislav Sutov a:i« Alois Kaívoda Overall, nine signed and one unsigned series of over 130 sheets of scenery and eigt.l shoe is of proscenium arches »vCto printed in the furmat oi Svenvty l>y Czech ArliSIS The dimensions of the b&ck-drops wore 72 x 43 c::; will] the vidín o: the wings at 25 cm. Apart from the specific Czech rhsracterand high artistic standard, these stage sets brought with their, simplification and "ventilation*. The age-olfi system n: many pairs of Wings and a large number of borders limiting th? movement of this puppets throughout the depth of the stage, was reduced to a single border ano! one or two pairs of wings. The deliverance from false
shadow- the.ua- ol German origin, bevOK 1912 Me-Mvun Museum D/no i'bolo Miioá WHB
perspeaives and superfluous detail, especially :he painted supplementary elements of the interior. Is dear. A problem occurred in combining individua] SCOne-changW insofar as the design of the author:, and then the tone of the scenery was at variance. Scenery tiy Cíťcň AftiStS and the puppets by Aleš were long acknowledged both at home and abroad.
Alter lbo First World War. puppetry tirms introduced new collections of printed scenes and proscenium arches in more types of format for puppets of various sizes* tlfi. 35. 55 und 40 j0 CB&ll 'wis usual for each set tohnvc u sinxlc designer and its Own consisrent artistic expression The largest dccwaLons. tOC example, those by ISartoš in 1033 with u biickdiup yf 270 "> 136 &B, were designed for school and association theatre groups. Once again, the models created were by lecofiiiised artlsrs. tor esampJc. the head of stage design ui the KaUOD a! Theatre. Academy painter Karel ŠtapfcrU803 1030* continually worked with Ihu Antonin Miinzberg company Apart Iron his work already mentioned, it is necessary to recall his design of proscenium
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arch and «luge and puppet designs for the An Puppe: Stage, a* well «• hit interest in shadow theatre, fcr which he though? up and constructed some ingeniously m ■* <• puppet* whirh were used in evening performance* at the Arft«*" Association lie created iw Münzberg Three comprehensive series of scones in various fcrmat* Inchi-e:r.g provemum arches. All his scenery is charartensed by n purely realign ujinupuon
Among aflists who cuntinuuJly took par: in the upsurge of household puppet theatre may be found the Academy painter Vit Skála 11883 10cv1 fugelner with Oto Bubeníček he wa* ono of the lending characters in the Theatre of Art Fducaiion. wlietv he wus active as a stage-designer director. I i       i ,i and actor. He was also rhe designer of non-traditional, urigmul sets for stage and auditorium Hi frequently published his activities in practical method irally oriented articles, lie designed a comprehensive senes of technically perfect picturesque pnnred scenes In over       pieces fur the company Modry Í. 7anda he continued the series uiSemaribvCzivA Am« In IÍM the publishing house A Storch Son published his cool pkte series SionrA'i Ciecfc Pypper Tnecut fcr puppet» eí
their <o creative functions: 'Modem scenery ha* to be a» simple, truthful and composed as possible in order to be put to use in several ways; if falsified dec limai on is dis i - 'Vine; nabs is IMajflad perpective Therefore anyone who wants to design scenery should avoid iho perspectivv of Hoors. windows and doors. Let him not nil in Iho "alls wiih furniture, hearths, pictures mirror* clocks, etc ixunleil in perspective. AH ThW if- fin nht-ac In in (hu crvuiion of the atmosphere of rbe scene, and excludes the possibility uf using the same elements ol scenery for unolhei' puryosu'.' Ar.ui Schemer was a painter a nd well known illustrator of fiiiry tales whose proscenium arches und scenery, in harmony with the fin-de-sieclc. are artistically unusual. In I (KM the I. R. Vilimek publishing house published his designs. Their technical skill U* also exceptional in that, lor the first rime, rhey were reproduced pholo-litho-gnipnirally by offset press
The highly stylised scenery and proscenium arch designs of Ufa itrchiieci Miroslar Knlaf exceeded run of lev-mill work. They were prjtted by M jra\sity papirnvy prumysl *«'.':d>iiii Paper Industry! ar Bmo-Huso»ice in 1020 lacy break up the traditional system ■ wings
vighteen renr.merres ;n liolgjil. for which he later created another proscenium WaQO
The publication of what was known as .Sfro.'o'.* large Stage Sew in cam w« for—a: wilh a baefc-drnp of ?00 * 125 cm in the same year was an exceptional action fur the Masaryk Adult Ldueation Institute. These sets were no longur designed as a back-drop with wings bul as individual components which could he combined lo make different sets. A cyclorama went round the back uf the stage Skulu's decorations are also of a realistic niiiure. *1lcIi he pnjifrummaticallya.'tserTsar.d defends " cmtunor. sense is sometimes precannusly rehictani to iluvw out centuries of tradition and eTpenence and lo hurl ilsvlf blindly into a chaotic whirl off modern by-words', hitherto unytusen by positive resulrs. let those who eiiUiuse about ihe »lytt*uUun «the iheairf! be **src Ihdl realism or naturalism ar. aha a defmi:e form of style and that this at * atyte which is much iios*r and more comprchimiibte *> Uw soul of a diild than all the oUier' isms' put lo^rtiwr"* . I  ik aware oi the specifics of a stage environment and
wtth a set which uses individual decorative elements which Kolar divides into 'large surface neutral' und •cr.urBCtens-.ir derails". The former include black prosre-nuim curtains, skies wilh stylised cloud*, a background i:: one colour and houses and trees while thu killer Include poppy fields, flowers, fires. (kilUieni ulofutils. bannister* and fiirntlure lie says about the style of hi* decorations. It is impossible to achieve scenic expressiveness through a falthhil imitation of reality Scenery which doe* not «nke the viewer between the eyes always remains woefully Qui and Lie flatter ir. is. rhe more ih e corporeal!!) of physical unpaimed litrle figures contrasts wilh it 1 have therefore chosen thick three millimetre ouihr.es snd lively, colourful contrasts.''Koiirs extraordinary theatre unfortunately did not inspire the attention it dvacrvvd among hi*
oiuomcri Stdiup^liartosanxl Fdiunrl Chroiien »a'rc a^antongfhemcKrarsunding makers of ptunie _-.eu.-v* and scenery up to the end of the Second World War m i«wn Iho publv , , Nokladatelsrvi .1. R. Vilimelc v>erv slill pr.nl uuj the c-armirg theatre of Jaroslsv Svub. a prlnunaker
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The production ofpuppoíb. especially mariuiioilcs. was also extensive. Designs and prototypes were otvaled by sculptors, painters, architects and carvers who included Josef Ssjnosí. Vratislav Hugo ltruruicr. llanuš ľu&mau. Kare! Étspťer. Karel SvuJijiský. Antonín Sroiň and Josef Chochol. The smaller puppets were cast or squeezed from moulds lor heads, arms and lugs, or vvera aJsu made to order from wood. The larger puppets were usually carved. Polychrome work v,-as done by hand. Every carved puppet was., in lad. an original, even though it belonged to a large series or one type. Companies put on o;ier complete puppets, nicely costumed, as well as cheaper semi-complete puppets. Standard sizes varied Iron*. 1M to HI* cm ann they were no* lurking numerous props, accessories and rechnical aids. Anna Sucharcová-Brichová's Aihum divadčlniŕh kroju Wthúm of Tknairícai Costumed of líian me: with great popularity. It contained costume designs and pairems. The majority of companies which dealt with the prediction of puppets and theatres published detailed catalogues ot their products accompanied hy a substantial tiumher of pictures. Various manuals, guides, albums, etc winch contained instructions for setting up the [hoatros and puppets were also in abundance
The period of the greatest upsurge in the Czech lands in both domestic and association amateur puppet-theatres is characterised hy a great disproportion between the component of set-design and that of staging a production On the one hand is professionalism, ambitious design, and a rustically-pre sen ted scenery and puppets, hut ai the same time a certain resignation towards the soeno-graphlc function. On the other hand, there is dilettantism and degradation of thesm<al creation to the level o: mere sermonising. Knonnous activity and total concentration on a public ofcliilc'ren 15 characteristic in the Oech lands during the 1090$ domestic and school theatres íuxeilicr «*ith over one thousand association theatres were JO operation Quantity triumphed over quality: the <nteaum was tho number oí performances staged The excess of dramulic literature available lo the puppeteer was almost without exception tacking jji artistic value."
We may seek the stimulus tor contemporary puppet theatre, vhether professional or amateur in the esperier.ee where disparagement ot" the subs tance o: genuine creation tends to lead. We surmise this substiir.ee in the sell-realisation of personality in the course of the creative process, unlike mechanical and reproduction activities. There is also something to be learnt here from the loss of theatre specificity, from the one-sided orientation towards design, which has significantly* ccrmnbiited to its isolation from theatrical development The set design component determines the form of puppet theatre and must, therefore, respect its specific needs- Inventiveness is net enough. Neither stage scenery nor puopots have the function of a work from the plastic aits. out are par, of the artefact of theatrical ait The creation of a geod set designer remain? in a certain sense uiiíinisheä AMI ihe increased possibilities of complctrnf; ihe creation io g by means of lighting and movement! on offer, ihe more valuable will the set be from the uoint uf view of the production Certainly, the artistic, lochnoloiiicrtl and craftsman like quality which marked tho greater pari of small decorative art production in this field and ironi '.Ids period remains on
the pMiUvo side. Today we might look with difficulty to the Croch market for an analogous product which would bring tu mind the popularity of the household puppet theatres of old
Al tlie enôol i3M [hl? OMnpMFPttaetNWO'h 0"0 hundrCd aeU anii Otiilý-tM puupe*. Yililliirť tUtMUM iil Bt pioOutltoo
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Thtjlre tmUtuUf. Pnfu* IBta
Le theatre de murionr.eLles ambulu.il tcheque qui. a I épecue de la renftissur.ee Rationale, avail juué le grand role social du seul théátra professionnel leheque. perd. á partir de la deuxiéme moitic du X!X"siOclc. sa ťonction orig.nale. s'engourdit. perd son public et s'éteinl lentement, Les marionnettisúes proťessionnels ne ťurent pas capables. pour la ;..       . de s'adapier cundilluns sociales. polítlcues et anistiques nouvelles. Les moyens ďei:pressinr. de leurthéštre étaient incor.ciliables avec les exigences du ráalisme et du modernismB. Les maríon-nettes ainsi cue ia scéne se ď.sfingt:aíent par line conception artistique ňxe. Si! est vrsi que le style invariable de mise en scene tendait ms.tmct.iveir.ent a utiliser l'Mt-pression en sigi*es, propre an théárre de maiionnettes. en realite, ll tmitalt le theatre ďactenrs vivanrs. Toutefois. au debut du XX1'siede, les spe<tacles de manonnettistes ámbulanis survecurem. sous, forme degrades, sat cótes de tendances nouvelles. Grace a sa popularite, ie theatre de mahonneites ambulant IWa. dans la conscience de louie la nation, oertaines conventions courames en ňgeant, POUT lOilRtemps. la technique de manonnetces presqn'en ime sorte de canon il consorva cette emprise malgré ['apparition, vers      dune tendance, dans plusieurs gemx;s aitistiques. ä paródie/ le thŕátre de mavionnettes iradiiiomiel et eri paiiictilicľses pieces primitives et le style ptilhóliquc d mlerpréiation
Les ''.r-' des v.' ■ ■!i". 'ic— d'Aiiloftiii Sulift / l)úl)ut
des .minies 19JC1 ťhoiojan Michalek
Le ňiiitani réformateur accompagnant Vepannnissement du theatre de marionnet.te>s amateur n'apporta qu'un changement tie repertoire, des sujets plus varies pi d'une phis grande valeur. Ma's le caractere du theatre ne changea pas ladScaternarrt! le theatre rests fiděle aux manonnettes et á la fonne baroque de la scéně a Vita-henne avec teile de fond. cKAssts. foses et rideau. On <n\ naítre dos theatres de marionnettes amateurs crees par
des associations et des theatres scolaires qui commen-cérent á for.rtinnr.er rěguliěrement avec ÜB tbnds de ma-rionnettistes ayant abandonné leur metier, ils s'sdressaient uniquemer.t au public eniantin et ils se distinguaient par !eur tendance ä instruire et á ěduquer. laura fondateurs sont sunout l'union ďeducation physique Sokol (un des premiers theatres des Sokols a étě créé en 197*1 á Kouřim), puis phis tard les Associations ouvriéres d'educaiion physique et I'nrganisation rathnlique ri'eduration physique Orel. On enrepstre des tendances seneuses a ntihser le theatre de mannnnettes en taní que moyen pedagogue 'Ludmila Tesařová. František Hauser). La conception conservamee du style du theatre de manonnettes amateur qw comiaít im essor massif se irouve renforcée par des maiufestattons cullua'lles importantes de Vopoque -1 Exposition ethnowaphique tclteco-slave ä Prague < 1995>. les commemorations de lannivorsaire de la naissance de Matuj Kopecký-110051 oi surtoal l'Ex position de marlon-neues au Musec ctlmoftrapliiquc de Prague < 1011) ains) que les rcproscniasions ďArnoštka Kopecká, invitee a la sallc de l'hulel Murkur 11012.1013), Dans !es aimees 20. on cumpte. duns uulrc puys. dus cunltůiios du theatres ď associations cl du theatres scoluircs. Qualrc \: eux, gräci aluurniveau uxccpllunnui ont marqučTúvo-lulior. uiiüneure du theatre de maríunnetles Ichěque: Divadlo ťeriálnich ossd 'theatre de colonies de vacancesi de Plzeň. Umělecká výchova (Education artístique). Umělecká        .•■ i scéna IScěne artístique de marionnettes) et itiše loutek iRoyaume des manonnettes). ces trois derniers síégeant á Prague.
Le theatre familial de marionnetces. phenoměne parti-cuher de Ihistoire du theatre de manonnettes. se děve-loppe parallélement au theatre de manonnettes amateur.
Dans none pays, il connaU wie diffusion massive ßt jouii d'une ties grande popularitě Le goßt extraordinaire pour ces pctits theatres de papier dčcoupe. connu dans pliisiours pays, a son originc dans la passion romamique que la bourgeoisiu epruuvail pour le theatre dans la premiéro moítió du XDÍ" siede On vendail cos theatres sous formo do Icuilles xylugniphiécs. etirumographiecs ou hlhugrapiúécs. Cos ícuillcs coiupreriuient 3'lmitaUoii du eudiv. dc lafrise el du rideau dim Ihéálro cüiicrol. los dúcors uinsi quu lus pursoiuiagos ďunc des pieces is suocOs. á cc moment ííi uu růpertoire du theatre. Lu publication dc cos louílles étoit. gcnéruicmcnl, uicíléc par !a premiere d'une piece. A l'digine. 1c rule de ces theatres éíail plulot děcoral ií Plus laní, les fcuillcs étaíenl accompagněes de mode ďemploi facilítant la construction ou de diíférer.ts modéles de textes et de dispositions relatives au }eu. On supposait done cuelles seraient utillsées á des tins théátrales. Cette forme de distraction était courante prinrípaiement dans les families de la noblesse et de la bourgenisie. Tandis que dans les pays voisins. les theatres de manonnettes famiiiaux demeura'.ent le privilege de 1 'aristoeratie er de la bourgeoisie, en Bohéme et en Mnravie. ils ennnuren;. grace ä lei;r popularitě. i:ne diffusion massive. Dans ce domaine. les premiers produits mdustriels versaient d'Allemagne. d'Autriche et de France. Parmí les faon-cants célěhres. citons Matthäus et .loseph Trer.tsensky iViennel", Clustav Kiihn fMen-Tluppin^. öehmigke Ä rh-msc'nneider IN'eu-Suppinl. Robrahn & Cie fMagdeburgl. J. F. Schreiher fFlsshngenl J. Scholz (Maloz), Mon Theatre
27
tPurisl. Ces; on Allomaernc cue celte pruduclion eisit la plus import ur.to. Jan* les régic-ns de lungue allemrir.de. iL y avail utiu cinquar.tuíne de maisuns c édiliun spéciali-séos duní les produi'.s diftčraient par íeur qualité: on trouvo. pármi eux. dts pruduits nai'fs. de rr.uuvals 30ÚI. imprimcs sur un papier de cualité médioere. mais d'autre parl. SĽiiueoup de produits parfaits du point de vue <ini5l:que el de Is reproductlcn Ces :h?š:ľ?5 avalent jii certain nombre ce característiques coromnnes: par exemple. un espace plus grand sépara.t "e carire de ľarriére pian: des fri.se.« rpltaiem phssieurs rangees de chassis. On remarone également :a c.oncepiioti réaliste de leurs décors représer>rés en perspective. ces óécors represenra.ent sonvent la náture e* é'aier-; trnffés do details iniinies tdes meuhles peints par e^emplel.2'
Purfoís. les lltéálrcs éiaient .'aaricués et instullés adomicilc. gráee ä un membre de la
famílie doué de talent artislique. Celu! ci s'engaceait aussi suuvenl dans Ui pred uction en série. Ainsi. dans les annčes :89U un u créé ľimposar.t tŕ.éätre des fréres Scr.einer á l'rague. Sotl catíre. son rideau et ses dérors som Iteuvre du psintre Anuš Hcheiner q'.:i sculpta e-pelgnii les tetes de ia plupEľt des marionneires. PhH tard. il utilíss rertains éléments de re théátre dans sa coller-tion dessmée pour I editettr I. ŕt. Vi;ímeíf.*Rn iflin. !e soilpretír Hanas Folkman ccnstnrtfU nn meánv dapres ses propres dessins et scuipta des manonnettes pour ses enlants. Son fnnds devienrsra. phH tard.cehii du théatre connii sous le noro de Umelecká výchova. Folkman modela egalement des tétes de manonnettes pour une fahnration en série de la ser.ieté Modrý & 7anda et en dessina les costnmes. Noi;s poumons clter beaucoup ďevemples semblables i) es: important de savou- cue les anlitŕ5 Ŕiäieni ŕtrecnvemŕ-ni les «-ub proíc-^ioncb (au sen* de la quahficaiioni qu) aiertt coniribut á la for matlon et au Ceveloppemcnt du Ihéälre de iiiariumiuilcs amalour ei du ihéálre JainJlial C'csi pourquui su:i niveau artislique dépassail cuiisidórublemujit ses uuires čom posanles el. eu íiti de coitLple. délerttúnail sen siylo.
I.es premiers dérors mberpies de pet>r. formát H'arriŕre-pían ',inx'2! ctoI ŕurent pnbliés en i!t:íi aiiv Fiíitions J. R_ Vilimek dans la collenion Ms'ý ŕtenáf !í.e Pfitit lecteutf; A fenlíles avec 1'avant-sr.éne. les décors de la plače ďun village et des roarionnetres plates ponr )a piéce ftlfl Franc 2fl zámku l,Wonsi"^r f rane <lu c'náťi<;u> Flles étaient impnmées en noir avec ľmstmction -ä découper et á ooiorier-. r eur auteur étan Kare! Stapfer La quasi totalite du ttrage a "orule lors d'un incendte du dŕpót des Fdmons Vilimek et on n'a lamais rŕalisí la tei::ipiessiyti11 Český s*aŕ loutkoveho divadla lAssociation Idieque des atrns du lliíálre de tiiarioitnullos). créée e:: i9! 1 a suRf-éií Cl soulemi ľidéc de eréer el de pruduire on série im tJi6i.lre liuniliuJ d v tiiariotmeltes exelusivemenl leheque qui puisse euneumenuer les pruduils elmngers. Paniii Les mcmbtts de ľAtoSodalion. i! y avait ie puintru Mikuláš Aleš qui. dans set: ucuvre. réser\'ait une plače iniperlaitle u !a nuíriunriuUrJ, Ce sonl ses dessins cui ser-viruEit de r::udele aui premieres manenr.eiles leheques fabníjučus en série, iín 1912, avee le consententent de MiltulĎŠ Altiš, lu sxuJplcur JuseťiĽJntist modtíla. pour i i:.'.'!, la premiéru petile coliectlon de manon-
nettes plastiques mobiles latí cm!, mais elles ne tureni jamais mises en fabricatinn. Ľne série de msrionr.ettes
plus petítes ías cml modelées par Ksrel Kobrle d'aprés les dessins d'AleŠ eurent plus de chance. La fabricatinn de ces marinnr.ettes cjut se difťingtjalent par une cnlture artisticue remarquable lut ccmliée á la société Antonín Miin/.berglPrague' er en l»\2. la premiére série éraít en verne dans la librairle České lidnvé knihkupecrri n Springra. Les caracréristiques de ces marinnneties étaient une dis-prnpnrttnn de la lé.re ej du cotiä. qw lenr donnav. un alr drôlatique. un modelage elhpticpie et des cosmmes soiffnes. Au|ourri'hin. on ies cnnnait sous le nom de •marlonnettes d'Aie*'. A la fln de ľannéa 151a. on en enregisirait dé|ä plus de PO types. Le premícj' théairc icltčque (avant-scene et déčonl pour ces manonnettes fut realisó en 1^1? par ZdeneX We*diwrdľ«ť**a tes dessins de Rudolf I.ivora. par une techriique de papiers colorés tollís sur loile. Mate la technológie cotupliquée et les frais élevés ne permiren; pas de p:*ocedcj' A la fabncaiion en série et on n en fabriqua <iue quelques piécesC-erlains éléniems de ce Ihíálre. par e^emple un espace pOu prufutíd v:
AMínonnetlf-des niontreum popuUtres. ck-uxiérne nieilié O' ílu XIX' liŕili- Collrctkins du Musŕe du pays morjvc ii ňmq PhiHusjiin-sliii- Slmiiil
une stylisatínn artistique. signalslen; la posstbilité d'tme certair.e reforme scénographioiie du genre.
C'était par les -Décors d'artistes leheques* Qu'on a fait un essai de la realíser. Let*r p-remiére série ful úit)jriniee par A Víick e:t 1013 11 s'aaissail de lilhogräyhies en 6 ä í couleurs. réalisées par le pOlntfO JarusUiv Preehúika d aprés des dessins d'artislus pruíessienneis leheques. Lii'iuit scéne, les draperies. La Mse. le rideau cl un des elianttejnciits de décor furent crécs par truniišek Kysela. lu reste des décurs éltmt ľceuvre d'Adulf Kašpur. Jaroslav Pajluška. Juscf Wcníg. JaitMla-v Prudiázká, Ola líubeiiíček cl Statúsiav Lolek. Le huul niveau urlislique et lu quaiUC de Ld repruduelíun o::l été rccompensés par un prís lurs de l'Ľsposilion ú'arts grapíi:o_ues de Leiaztg. Lu bcllc el
: i        avanl seene de l'raniišeli Kysela concue dans le slylu uubislc compu^ parmí leu mäill-íUftis créalions rďali-sées Chvz nous. dans ce dumtiine. Les Irois séries de décurs imprimés qui suivlrent. él aít de bonne qualité et turent ver.dui's par la ".Elscr. Antonín Mún7.beľe. les aulres serieš
23
20
furonl vendues par fa maison Petrus Idevenue plus lard Modry & 2tuida el onfin. Mane Pisaŕová. sous !a marque duposéo MaricDJ puis apres tflifl. par la soeiété JBXA IJun u EUika KrálOvDi louies res sooiétés siégeaient á. Prague. On vii arrjvor <le nouveaiu auteurs: Ferdinand tngĽlmuilor. Jaroslav K vri- Ladislav Novák. Max Boháč. Bohumil Vigocr. Josof Skúpa. Karel Stapler, Vír Škála. Ladnlsv Suliiur. Alois Kalvoťla. DÚH le format des Decora ďartisios •cheques. íiuvaí čditées, en tout, nenf series marquees et UDO sótio non marquee, représentant 130 feuilles do décors ol 8 feuilles ďavanl-scénes. I.arr.ére-plan de C«S decors avail les dimensions 7?.*-(S cm. la largeur des chassis éUiil do 35 cm Oulre leur ca-raciere typiquemenl tchcquc Ct luur niveau artiSEique. ces décors apporlórenl une simplification 01 une "aeration de la scénu. Lu systéme désuol do plusiours paires de chassis et de plusieurs rangeos de Discs qui génalt le déplarement de marionnisilcB dans loute la profondeur de la scene, a élé réduit a uno frtsc dc devaiil et une ou denx paires de chassis On remurquc égalcincnt la suppression dn irnmpe-ľiHiJ et de dclaUs superflus. suttout ďaccessoires peinis des intérieurs. Les prouiômcs su po
saient lorsqu'U s'afiissail de comhuier les ditYerenis chur.gcmenls dc decor car V Venture des auceurs et done le coloris dos decors oTaien!. generalement. differents. Pendant longlcmps. lüS Decors d'artistes tcheques et les marionnuttes d'Alcs ulaieni trfes apprecies dans no-re pays et ä lölrangor
Apres In premiere guertv meuidiale. le* fabiicants de marionnBites ont prcsonlü dus collections nouvelles de decors et d'avani-sccncs. hnprinices en pltisienrs dimensions, deslinees a dos marieunettes de tallies diherentes (111. 28, :(5. -15-50 cmJ. Cer.eralemen'.. chaquC collection etait realisee par un seul uuleur co qui assm'ait son hnmogeneite. Les tres grands decors, ceus de BaloS de IflS) entre autre, destines uux theatres d'associations et aux theatres scolaires. uvaiem un arrierc plan ä des dimensions de 270 sur 130 cm Iis eiaient executes d'apres des dessir.s d'artistes reeunnus Par exemple le rollaoorateur permanent de ia maisun Antonio Miin7herg etait Karel Stapfer 11803 - 1930). pemlre Cl Ö6covareitr-chef do Theatre National. Ii faul mciilionnCi' qu II a eÄaiement cree l'avant-scene et les decors et des
ijaiosbv MnxhJíKa. la vllleS Les IWwis ďattfatts '. Iľ.i.iic:-  1°1Ď i Collections du Moser* du pays i ix ran; j Brno
<l Fen Ii im i n I Fiigdiuiilk::. le <".ívífff<llí fCariítejii
I Mi un iľ:iTii.sies tohCi|ucs. lOtfi       Pboivs /(nvslav Blech/i
Siné les mariomisiies pour 1p théálre Umelecká loulková scéna- Ti s'intéressait au theatre domöres pourlequel i) imapnňit ei conslruisait des marioimetlcs mubilos ■■■ ii.in-/ '■■.>':■-■   ■   sees Inrs des soirees de Jednota výtvarných umélcň Hinion des artlslesl. Pour la maison MíUiťbuľft il Cféa une vaste s>rie de decors de dilľerenls formats avec avant-scene. Tout res décors eiaient carae
30
Win <«ju«iis>m% <ui Mwéc du pj\s mpravi a Hnw Vjiwf NhiijM. CaíniKt í/ťfrtifcí OH fa clutfn'ib-
tenses par unc conception piiramem realisté
Ranní les auteur* qui cnninbuercnl. dc íacur. permanent* u lessor du theatre řamil .a! dc niarionnettes. 11 (aul mentionner I* peinirc VB Skala 11883 - MflTL Avee 1* peir-tre Ota Bubeníček tl cotupisä puntnl les plu* srní* du theatre Umelecki výchova uu U assumait les roles de srěnocraphe- mcileur co nvs; drsmanirge et scretir. il es- aussi 1'auteurdv tu conception originále de U scene et de '.i salle de co ihtúĽv U a pubiié Ce nomhreut articles faissnt part de sa pp. 1 ..    experience pratit|tie II s riessme de riches series de beaux děrnrs impnmé* d une qualité technique particuliere: plus de ro feuilles dessiněes pour la sutiele Mudry & Zanda. qui reprcson taient la poursullc des Decors d artistes tchéque* En i<e«. les Fdilions A Starch trt ňls puhiient I'ensomule dv son ..Storchovu CesliC loutkově divadlo* He Theatre de manoniielles IcliUquu de Scorch) destine aux mariuiuiuUe* de 18 cm do laiul. qull compléii. plus tan!. d'une doujuottte avant scene. La publication des sol-tli sail is -Skálový velké dekorace- (Grand* decors de Skäiai decon yěants dont l arriěrw-plun tnesuran ano aur 125 cm éluit un« realisation except kxmelle de ITnstitut euucali: Masaryk
IMaaarykOv lidovýchuvný Ustav! Can dérnrs netaienl plu* enneus comme arriěre-plan avec chassis, mala comme des elements parliculicrs servant á arranger la scene
I'amere plan etail constJ'.ué dun ryrlnrama Lcs decors de Skála oni. >...: aussi. un caractere réahste caractcrc soutenu el defecdu par ľauleur en tarn que progranunc: •   pdifu.s ie boa sens se refuse radtcalement a se debar rasser d une tradition et dune expenerice tenlenaires pour se jvtcr aveuglémem dans le touibillon de devises inodernvs- a'uyazi pas encore donne dc resuXats positifs. Ceux qui í'iníiamrr.enT pour la slyiisaliu:: du theatre doi-vciil '.enir curnpte du fait que le ■ ■ 1 l >rne uu le naiura-IhBBB re prese men: ecalemeni 1111 slyly un style plus accessible que tous ;es autre* -ismos- a lame de len-fíinl -:'' Skála se Tend côrnpte do la spóeulutú do la scene cl dB sa fonction foniiatnco -Le decor modeme dull elre le plus simple possible, vurldiquu ul concu de (aeon a permettre plusieurs inatUCtvs d'ulillsalion ... si la declamation fausse a un effet dcranifcafil. c osi ďautant plus vrai pour le trompe-i'coil Celui qui dusormais. ries-smera des pro|e:s et čes dúcors devra evllar fle representor pianchers. ŕerietres et purtes dvsslne* en perspective murs rveouverts de meubto*. poales. rahleauv glares, nendules. etc peinis en pwnpactive Tout cela ■fDpádH ďobtemr un aspect aarvabl* de 1a scéne et etrlut U posš.builé d uliiiser le merne d*cor d'une fa con diffenente ■**
Fn 1932 les Editions J K Vilímek puhlient l'a^aru scene et les decors ďinspiratios Art nouveau. ďun niveau amstlque remarquable. realises par Arius Schcincr. nemíre el illuslrateur. lis som etreptionnols aus>; par leur technique: puur ia premiére fms, le* d6cors oni cle rcpruduiUt par photolithographie. n'eai-a-diru a ľoffset Dans la production banale de 1 époque, se foil! iieltutnent roiiiutquer les décors et ľavant-s<eno trus slyllsčs de ..:■.'[> Miroslav Kola ŕ. publies.en 1020. par Moravsky papírový průmysl de Brno-Husovicc lis brisent le systéme traditionne: de chassis en intryduisunt un ensemble cumposé ďělěrnenrs isolés. de* ékinetits -de |frar.de sur-fuL-v neutres> ip. eT. ndeaui notrs duvanlícina. ciel
rvcc nuugus stylises, uiriere plans monochromes, mai-sons. arbresl et des -details de caractérisation- Ip. ex. chump dc coqueliculs. flours, (lammes. recipients. balustrades, inoublcs. etc.) Kolář precise^ -On n'obtlent pas I'expressivilc des decors on imitani la reálné. 1 e decor qui no fruppo pas iiwuodialCmcni l"ceil du spectaieur reste á jamais laniciiiablcnioiit plot, cVautam plus plat ou'il ronlraste uvec lus corps pleUquOS des paniins ciui. eux. ne sonl pas peints. Voila puurquoi j'ui choisi ď utilise j'
des lignes nourries. do troia ::.....111.':. ■ ol dus cojitrasios
de couleurs vives.5'MalhourouscmoiLl.ee Ihóálro exeep tionnel. créé par Kolář n'a pus ěvuillč 1'alteiilioji mórilóe des clients, carrespondant peu á lour gout. Paruii los auteurs de theatres el de décors imurimós d avuiil la Cn de la 2C guerre mondiale. il taut mentionner Svatopluk Bartoš et h'duard Christian. Egalemcnt on 1943. ios Editions J. R. Vilímek publient un theatre ravissunl dugraphisle Jaroslav Šváb.
Ta production rirhe de manonnetres. á fils en particulier. ínérite une attention parti ruliére. Des srulpteurs. des pc-inires. des architectes. des sctilptenrs sur hois comme Josef SvejJiOSl. Vratislav Hugo Rrunner. Hanuš Folkman. Karel Slapfer, Karel Svolinskí-. Antonín firnift. Josef Chochol et d'amrcs partio pérem a la realisation de des-sius et de prototypes. Les pontes marionnetres eraiem gčiiéiidemeni fubriquees par la methode de coulee on do moulage a la main <ielOS- bras lambesl. sur oommande. 0:1 les scuiplail en hois Les grandes marionnettes latent sculplées en buis. la polychromie se faisait a la main. Cbaquu mariotuielie éutit en fail, un original, meme si ellc faisuil partie d Une grande série dun seul type-fubricanls offraieul des inarionneitos completes, bien costumóes ou des produils senti-finis moms chers Les tallies slandtird vuriaiunt de 18 á 50 clu Lůs fabnCantt proposuienl čgaicmenl luule sorle d acccssoii'CS et d instruments techniques, En 1928. le public acueillil trěs bien 'I'Album du costumes dc scene- a.bum diva ".■i::.".", krajů) d'Anna Suctiurdová Lirichuvú. coiilenant des dessins et des patrons de costumes Lu pluparl des iahricants de marionnettes publiuiem des catalogues děraillěs. sérieusement illustrěs de icurs pruduits. 11 y avair également un grand choix de mauuels. guides albums, modes ďemploi facilitant iu construction
La periodě du plus grand essnr du theatre de marionnettes ďamateurs tcheque. du theatre familial ainsi que du theatre d'associations, est caractěrisée par une disparity frappame entre sa compnsante artistique et sa pratique do miso en scene. D'1111 cóite. la professional ire. I'ambi-lion. la concoillion artistique de decors er de marionnettes. mais en meme temps. 1111 certain renoncement a it; fonction scénographtque. d'un autre core, le diletran-lisme et la déKradaiion do la creation thearrale á une simple moralisaiion Celto epoque se distingue par sou orieiilution exclusive vers le public enfanun et par une uciivite excessive Dans les annees trente. il y avait. duns noire pays, iui grand nombre de theatres famihanx el soolutics el plus d'un millicr de theatres d'aisocianons. La qutuililé i'omporlail sur la qualile. le entere étanr le nonfbrc de spectucles realises a quolque exception pros. I'abondaide lilléfdlurc pOuC lis iMn6lineltt?lei manquail de valour artistique
L'inspiration pour 1'arl conlemporain. professiuiinc) Ou amateur, de la marionnetle. dovrait roposer Sur 1'OxpĎ-rience des années passées: les eflets néfasles du dódain de 1'essence d une veritable creation qui sous lend I'oxptcs slon de soi-měme. de la personnalilé dans le processus de creation la distingut.it des aelivitós tuécaiiiques et du caique. 11 ne faut pas oublier nun plus de llrCr la lec;on du méprU du caractére particulier du thóáiru. de lorientarioii artistique trop spácialisée de ses auleurs. oni a cnnsidérablement contribué á les isoler du déve ■■■■i', i': - ne - * du rhéátre. La compnsante artistique deter mine la nature du theatre de> marionnettes. Pour celte raison. elle doir respecter sa spériticité. Linventíon artistique seule ne snffir pas. Ni la decoration scénique ni la marionnette n'ont la fonction dune ceuvre dart - elles font partie de lan. theátrsl. i.e travail d'un bon scěno-graphe reste, dans un cenain sens, non achevě. Et plus wastes sont les pnssihilitěs d e le parachever tpar la lu-niiérc Ot/ou le motivemenr..l. plus grande esr savaleur pour la mise en scene. I.es qn-alitěs anistiques. technolo-giques et arlisanales qui. dans cette hranche. caractéri-suieul ime grande parito de la production ďans dér.nra-lils de lepoque constíluaiont un avantage incontestable. De nos jours. on aurail de la peine á trouver. snr le marché tthěque. un produít comparable Otu puisse ranimer la popularito des théálres familiaux ďantan.
*-' AUtie :aa.<%'\<-.-.o-.i^it •. . •       a cioscction. environ ion drvf)""*> 1:; %z ■-■ '.•r-a nuri<inriK;ii"^
!' Aeiuurdliui. cest IOsiereKhucftgs Museum ftirVolkskuotic rli'Mnrrihqui pt-ri!;iKl-' une rktit* Lulifti'i'Ki de liieiim de lable i'' y.-:-: E^l IMS ft l'cccnsion dc son OTpMliimi il 11 publii'
bll rnllV ■ . ■. 1.1 —1_ ■-   I '-.-.i—' .::- j . -: ■ COUlCOl'tatlt de J':-'<'',■' I-'
Inblcniiv f.irwikpgiqi:<;"i (■! Rirti ji^'il:-grj::hl'ts it Luult*bi& ab plusieuisobiats • ..• • • *' liinnii .tchcintirnvj i!Vix[ui- 'xin noii'itolii nuslaluLq'jvS tt Ct ■ 1. ■ r.t 1 v dans wn emclo Procul rcgwu-i rSpiTurltt-i do ihrairi-
ilv : ChWt J 'i'-l.V.i.e:' Li L0UIK9! (lLl:Vi< N'lV
nriK. pp liH I liS.
" L'a~d*MaM d* rengttaL d-itisksbibhc«:>icqiwirh«i-iisitdan*i
i.C v'r.r.'.v'.l ■ r- : -  ■; 1.1     it" t '. ia
une■■ Siiavant-seineet pimtunABSirine* cxiluriiVttK jair his piMjicn !ieUi». *' rontons) du thcAtrc tic *'cst xTaisfrmhlablrmiiit pun ixinsnrvp. \ii"„■.;.- stMU ce b.'.. -:i q--,-:-.:i\c une repliciuc
dc dimpnsKwis rnofonni^i.
01 v. Skat* O jfltntda tfcb 4BB»eh' <Sor dia»>taw'-wawH in-
1 imtkiir. .-.rr:'!' XI. ni> 7-H. jj. lib. r' v N ■ -ol: i: slov o dckoract iQuolqucs mm sur la Hcnin
llltlll. :r. :..:-jlk J: X.       I. p. tO.
" M VIoUr 7|"Eroitiiftrn-' itivarila .2 }t:ho niilniimxisl
{La .-.1 :i_.i:k.-ti'j!. du ■ i:«.:.ti- «t son - y : vin- toctlcn*
iinni*!! V. mi07.p. 110. * LespuOUcstlorssuivatitesrioiincoi unaprrc'i iwniHci dusia
lurnia-iut le> i~      :.. .i.i-. *.:■:■:
J. Vowly: Srorir vytiranyi'li her tiuikuvyLli kdekuii ■..-.■:...!.
IL* CStalORUe fl<? pi<OCS dc menonocttrrtcrinnii'*. CidiltVh
1  , . |>::1r   j>. PialUI l9lS.
7 Se^rlokr D^jiny ri\Oto sautknvi: hi^* :i» mWu lets iLHisiolra du thfAtr* ds manormcttc-s tchrqur jusqu en ia«sV Pr.ifcj ua
32
FROM THE HEGEMONY OF THE DESIGNER TO COOPERATION IN DESIGN
Dc 1'hégémonie de 1'artiste á la collaboration
artistique
Alice Dubská
ftipfvf by N-nťvli N»lunh Irnii ihr Srjlm ot Puppet* Thome, i' ■
fbntn K'tmtauier
Ttic extent :o which the de*>jrner as the puppet's ire wor influences '!»• character of a dramatic figure by the choice of material, the technical dosoui t*luch deter-mines the pasaibilitia* of a puppet's movement! and peciaii ■■■ by the artistic concept doc* not resemble sr.y ul the other type* ni thaano In the 1920». however, his sluicingin Oech puppet tYi>,iiro was vjdominant that it was railed the period of the henumoiiy of the puppet
artists Th« phenomenon »u> evcnvcied whh the topment at the turn of the cunlury in Leech puppet theatre, which hrmiRht an impor.unt pht»»c to a cloae with ihe> end ot the nineteenth century It roust be said that the typical itinerant rcprocntallvuk ot traditional popular p-.;ppet theatre »cre eoitltiiually aetive in the Oech lands until the lOSOs hut they did not bring any ant impulses in development Thin chalienga wan taken up hy amateur
33
puppeteers at the beginning nf the century, who laid the groundwork for modem C7ech puppet theatre with their work mainly in theatres belonging to associations
The development of amateur puppetry was related lo new social needs; during the lime of a stmiglhutiiiig aos the lie and udu; uiovujhciu. a suitable theatrical
form for the education of children was sought, f lie im pulses of symbolism in the theatre und other modern '.rends as a reaction to naturalistic tendencies also inspired interest in this type of theatre und its specific possibilities, the number of amateur stages had been growing rapidly since the beginning ofihe century. E'arents and teachers were particularly keen to organise performances for children, and with this in mind, the       h lands achieved a unique standing in comparison with other Kuropean countries, although the standard of these productions often did not correspond to the effort exerted. At the same time, a number of artists appeared, mostly designers hut also actors and writers or musicians, who sought to experiment with rhe opportunities which puppet theatre presented and ro publicise t heir artistic views. Their work was isolated from the beginning and was unrelated to 'he specific practice of performance. Thus for example, a Series of puppets came into being by well-known artists who conceived them as artefacts «n their own right. Where these two trends met. however, st ages arose which significantly developed Czech puppetry both by their artistic results and by their search for something new
In the fit it phase, ambitious* companies attempted to distance themselves in.--., the style of perlbrtnanee practised by itinerant puppeteers*, which was then considered outmoded and very basic. They had not ye' created u vjm^vr.cnjjv1: artistic programme. Above     ttu-ten~.pted to raise the standard of components of individual performances and to apply current aesthetic norms. This process, however, did not take place with all components to the same extent. In a number of companies, it is true, amateur memhers were only learning how to master puppets or ensure some form of interplay, but the majority of them were able to invite -a professional artist to work with them without any problem. With the participation of such a person the company might rapidly and visibly demonstrate its artistic orientation. In this way the position of the designer gradually gained strength in puppet theatres, while at the same lime, it led to a certain undervaluing of the remaining components.
Two Prague theatres serve us cxumplcs of these stages: Loutkové divadlu Umělecko výchovy IPuppet Theatre of Arl Education, founded l&Ml and Umělecká scéna Kiše toulek 'Art theatre Realm of Puppets, founded ISfZU). líolh stages concurrently embarked on a programme of aesthetic education for an audience of children with the aid of suitable artistic stimulation. From their origins they developed similarly along a basic course but some differences which became apparent in their works, mainly in the artistic concept nfpiippets and stages, help us to understand better the development of Czech puppet theatre in the interwar period.
Tlie Puppet Theatre of An Fducation was founded as an amateur theatre through ihe Prague Association of Teachers. It arose ihrouf-h an historic act- it was tlie Ct-sl time that a group of teacher invited a number of out
standing artist* to work with them so as 10 create in common a permanent theatre whose basic purpose was. from the beginning, an attempt at modern puppet theatre determined for the aesthetic education of children
Lvcu in the inaugural production of FrumiseX £kruup's opera Orv (em ■: t'ihff linker'/. Ihe company indicated its rejection of the typical stylisation uf voice and movement of Ihe itinerant puppeteers ulmost in the manner of demonstrating against it. Ihe issue of vocal performance was. a*, least for the first phase, solved by the choice of an operatic work. Yet. by this new means of managing puppets, whirh enabled the rigid and torpid movement of the ntarionnettes to be removed and permitted the ex-
itippvts by vojtech hutluid . fintil tin* ;ni idui
Tail Wkk and St&rpUgJXed llculm of rup|x.fs ThCatoC,
i'rague 1920 flftoft) VŮtoriínuAaHůt
rensinn of their range of movement, the Theatre of Art Education had quite simply embarked on a new direction towards a more realistic, i.e. more illusory visual impression of a puppet performance. These tendencies became expressly apparent in the concepts of the sculptor of puppets Harms' Folkmsn t IR78- ifßftf. unlike the traditional folk inanonnettes,carved man expressly baroque manner, these puppets were marked by mucli more subtle model luig. particularly in the face, and with an attempt at greater resemblance lo human anatomical proportions. These
jo
brmuiilil BudcSni.<k\. pUppCO Tni llu: |ib> *f*W /Viin'ai' lau'hy Kant) Masek, íhc Au Education I'm^iiti-, I'm^uc 1*>3- Woft) Hnw Kiintísiinv
concept.*; were constantly being deepened m the iosos when the painters Ota Bubeníček !iB7i-iítfB»i and Vit Skála tiam-iaa-H were shaping the profile of the Theatre of An Education. Bubeníček as a set designer attempted a tasio fill, subtle and colourful approach :o stane scenery and evocative lighting with an entirely harmonic visual tin pressinn oi the set. which was supposed to have an effect on the child-viewer as soon as iho curtains opened
The charming pastel eolu ureu scenery of a Czech landscape and subtly liannomscd scenes from foreign lands or 1'uiryhilc settings were revealed to the eyes of viewers. Everywhere was a recognisable attempt at a likely view of a place in history: the detailed working of painted sets and jccr.os being provided with sculptural supplements and with a number of small details, all to strengthen the tendency towards illusory descriptiveness. The work of Vit Skála, who made the majority of puppets tor the Theatre of Art Lducation. was similar. Their basic character was determined by the attempt at a noble-minded artistic form within the framework of bringing the puppet close to man. IThe partial use of illusionistio materials, for example, hair, contributed towards fhis.l It is symptomatic that when the sculptor Ladislav Salem attempted through expressive stylisation in the spirit oi rhe late art notiveau to singularise the fairytale figures from Gebauerova's
play, his designs only concerned the costumes, while the puppets themselves remained untouched by this stylistic key This cuncept of rc>Kuidu\g puppets as "alive*, "as in reality* came le bo an cvpivssion of the greatest recognition the lleaiiti of ."uppels followed a somewhat different creative development. It was founded by the sculptor and carver Vollech Sucharda 11684 IU08I and his wife, the puiatof Anna Suth&rdovs-Brichovii (iob>lU4il. Even on this stage, the artistic element became the most active part of the production. The stage designs o: Anna Su-chardova developed from a mere description of the environment to attempts tn shape it with emblematic scenery and gradually direct it towards a simplified stage, formed mostly by lighting sa the unifying and dynamic element. These changes in the work of Snchardova were indisputediy influenced by the overall Tendencies of Czech s:sge design. 3y the constant seeking oi an ideal set-design for a puppet play, however Snchardova succeeded in shifting the development of puppet stage design Her husband, the puppet maker Vny.ech Stiohai'ca. had no 'ess an Interesting journey at the flcahn of the Puppets Unlike fellow designers at tho Theatre of Aft Education, he was markedly influenced by folk inarionnetlus There was aiso an element of family tradition involved intliis. since his #ancJalher and father belonged to an Outstanding family of puppet makers Suctiaidu understood the stage effect of expressive caning and the urnphasis on the head and physiognomy of Ihe puppcls fur their characteristics and in this spirit he crculed his devils, water sprites, robbers and other fairytale and comical figures liul even
Puppet* by Lidislav Suloun. Prague l'-29
Pbt/io Vlktvr Kwiihfiitei
3ff
A MjidKck PiiiYk. Pri'KtSt J&nJeti m1 t!r>t|-n In- Anna >UChaido\j Ihkl-ni. lous oJ Puppets iW-jiir topic 192'V
he was uul iu be saved from the periodic trend whirh directed htm to imitate the model of the puppet as person actor, and especially among the female figures But hi* ivnse for stage effects and fantasy became a COtTOcUf factor in his work, and he a»*ened it particularly In fairytale figures where he was nr* hound by respect Joe em pineal reality This allowed him to stylise their anistlr form and to discover new possibilities of movement and expression by means of an unexpected approach to tbrm nrhy unusual material.
The critic? of the period noticed the difference in the artistic direction of the two puppet theatre* and drew attention to the greater attempt at creative n at
the Realm uf Puppets. From the point of no* of history, however these differences do not seem to bo essential. Roth theatre* In their way preferred the aesthetic effec-nvencss of the viiual side of a performance' and had not yet csliausted the processe; acequaie lur the *pecnVs of puppet iheatra in making use of the singular possibilities of puppet*. 1 hay were projected both by ihw anthropo-muiphic concept ot puppets and by the reality that theatres were at the tlma luing one sei of puppet* which went from piny to play. rar.aivmg new costumes, and so. tor example, the praencal possibilities of grower use of amsnc hvpcrbulv or cartrature Mere Unuled by the further useful ness of the puppet* Despite difJerwnces In the style of individual designers, this phvnomviion was symptfimaLK for the ma|f»rliy nf C/ech amateur puppet theatre com panies. The only exception Lu this trend was Josef Skupa. whose work, although he himself was a professional artist, ensued from the theatrical function of the puppet, from
■■I
the of its dramatic performance, and m his
wurk be directed himself towards limitinjj the hegemony of the designer
The decisive share in tlie gruduul chancre of this orientation fell to those who represented the succeeding generation of puppeteers In the 1030s. who were clearly conscious of the importance of direction, which had up to then been paid minima! attention. Instead of a parallel often independent rahing of Ibc level of indtvtdii.il components, the young din-tier* trik Koiar. Ian Malik at the theatre of An Fducauon. Vladimir Smeikal at the Realm of Puppets and others tned to create structural bond*, dtterminins an exact directorial concept, between the Individual
37
components U is iluiraciOTíStk that the gradual retreat of the visual artist from A leading portion did no*, at all signal decline at Ihe nrlislK Wei In fart, during those years some of the most important productions of the first half of the twentieth oonlury aime lor which set designers were largely responsible
infJueiico of working with the director Smejkal Parti cularly since ihe '■»■. ■ mnj; of the IwjQs Sucharda had been looking for new maierinl and shaping designs oMdi nuRhl influence the meaning and effect of the puppet 11 is true that In htt work he di d noc ruixJamemaliy abandon the illusionist-ť «andpfa tv hut he managed to find a means
Sucharda s work gradually manifested a new understanding of the function of Ihe puppet both under the Influence of SucharCova MnB doutns for stylised puppets made of parrs turned on a lathe were not realised, although her stimuli did not remain unucclatmedi and under the
more often a movement, or emphasising the material with which he disturbed the illusionislic nature and by lite oscillation between illusion and ita deliberate disturb-anre he strengthened its theatricality-
Ku.t-cn .Stoklas. 'IbePnnwIi OfVxni
■mI |r*fipKtt li\ Armj and Vottech Suetunki. RrMlm <>f PnprMCI theatre. Prague 1921
38
In th* early 1930s, the architect Bohiimi! RudOsutsky i      ■ -1= noiiceably ...■11■ i:-i- himself ai theTlieuirv nl An Education Working with iha director E Kolar bi mostly reinforced the siylisUc: transformation of puppetry at th* time. As a puppet-maker h* rejected the concept of th* puppet as a reduced imitation nf an actor and was among the first to establish th* necessity of creating entirely n*w puppiis fur each produnion. corn-s^aUns in both artistic form and technical design 10 the purpose of the director Working with Kolar he succeeded in emphasising the anli iUuskxtisric processes and using only the possibilities of metapborira I effectiveness of the puppets demonstrated that the world of animals and non-living subjects is essentially close t*> ilv spouflcs of puppet rhearre Willi similar intentions the design unci directorial quests of Jim Malik < itfU-t-lUHO) con rem rated '.'or example in the production of Sophocles' Or      ■ on the function of stage space in relation to the director s concept. Frantisek VoiaCekll*B>i-lsH2).apain'ei-,»i)d illustrator, became ;imed with Uudcsinsky's theatre al the Thealre of An Education al the end of the 1<W0* By his playful and humorous
conception of puppets ha emphasised ihcir puppet-like qualities and inspired the imajnnanon and fantasy of the audience of cMdron. Ills most successful set design was a set and puppets tor a production of A fiiistlts Kryitaf (The Ttai-caichvri. which Is on* of the pivolul works of Orach puppet theatre from th* first half of tin's century, (n rhe most important productions of the 1930s, in the thorough cyUabonition b*Tv**n director and designer, the desum element was dirested of ils merely descriptiv* and deeorathv function and b«ame an active part of th* theatrical act and th* vehicle of semantic information The development nf those yeai-s demonslraled that even In puppel theatre, th* quest for urlistic expression is constantly involved in a repetitive process, checking the relations of the artistic aim to Ihe uverull pmduriion and to the actual specifics of puppet theatre. Much of what &0CD puppeteers achieved, including the honourable place of the artists from the Realm of Puppet* and the Theatre of An Education strikes us today as ohvioiis. but nilnout their original attempts lo find an expression, il nould not be obvious at all
Decor ct inaiioniiiUV-n <l'Ann;i el Vojtcch Sucluiidu jumr U pieee clc |. K. I'yl le fmuiirtie cvrwruse de Mtaktuiitv
fhv.iOlo !•   . . utck. fr.ilm 1990 imhiivt
Linfluence eTetxee par I ariisu* en nun que crealeur de la manonneiiesur le caractere du personnage dramatique. par le clioix do material, par la realisation luchniqu* qui determine Iti BflbUlM de la inanonncilu ut surtout par la conception ariistique. n'a pas d'egale duns d autres genres thealruux. Dans les annees 20. son rot* dans noire theatre de murtnnnetres etait predo minant a tel point que cetts jer.nde est appelec lepoque
de J negemonie cW omites. Ce plienomene est li* a nne transformation radicale du Iheatre de marionn*tt*« icheque dont une etap* importanle s'est refermee A la
fm du xix'sipci*. Dans noire pays, des- nprttmMnti
uinbulants typiques du theatre populaire traditionnol cuniinuerent a travalller lusquu dans les annees 10W inais ILs n'eraient plus portcura d'idees nnuvelles Au debut de ce siecle. ce sunt les iiiarionnenisre* amalcurs
:s»
IXxi-i et nufioiinciics il Ann,» 01 \i* iVh "mii IkiiiIi pain Li iMeiv d Anna SucliarUovj..llrich"v.i \t/ih</i>',lf/ih n In /irinttW Divadlo Arc loutek. Praha 192^ /*'»•.'» íí-cíhíis
qui oni pris .e relna it qu:. piukui production celled** scenes d associations cn párik uW r out IMékMbMH du tbéarre de mariennette* rauvernt- (cheque-
I 'essor du genre AM U résulia*. da flOBTCau bcaoins soaaux. I.epoque        marquee par    ivurani esthé* untie et éduratit croissant, on cSerüiul uuc formo ihéirrale concenabl* pour lěducallun do vnfaiits ĽtaSfÉFadOn du symhnliwn* th-áiral vi d «um» tour-air.» modernes, - en reaction aut rendanm* du rwluruliiiiie cootribuerent eßalemem » »iwicr ľmtéfM pour tu HM ihóatral et ses po**lhtlir** «peciflques. Dcpuis ie dcbul du siede, on assismt * im* multiplication de scenes datuulcur» od surtout de* parent* et des ;  C i. fu. ■ enthousiastos orxantoaient de* **«nf»n reguliere» pour los onftuils u co suiOI. la Boheme et I« Moravic tienneni une place oACcplionnollo on comparsuton avecd'aulres
pays Ouropóoňs, II faul admenre que is qualitá de «s
productions ne correspondait pH» toujour* á ľ energie depensce ü lour preparation I es les r I i-t it n-
en partioulici mai> aussi le* arteiir*. U* ecrlvain*ou les musiciens Ciuioin iuuiOurs plus nonihreiiT I rhercher. dans le theatre de jnanoiinctles des possibilites: d ex penmen t or. de verifier lours concept* an.srqnes Au debut, leur creauoa člun isolóc. sans rapnon direct avet une activité UUUutXj do :nivc cn KrflC. ainsl. nn a tu natrre beaueoup de nwioax-ito coneues P»r des artistes connus comme Ocj ovuvra: d art autonomes, Vais IS oü les deus Uyac» w*nvr**ieiK eilet doměřeni rtMssanre S des scenes qui pur |Bajri mkccs artistieue* ainsS Djaa par leur rvcnvrihc. oni tonlnbuc. de facon rmpenarte, š ľeuor de I an de U manoiineuc icheoue.-
Dans one premiere etap*. Us «ruvmblc* qui BOtoM de lambilion cherrhaienf á m dama.-quvr du *lyk- do mlse en scene de* marionnarti««» ambulant*. |u«:é tíěiá čumme desuei et pnmitjf lis navaleni pus encore do programmeartisuquecoherent. ■■ s'efinrcaiem. avaat louL ďtuiiúliurer la ouaht* des different** composantes
de la mise en scene vt u'appUquur les. norme* esthenrriies de ľépcque. Main cc processus n avail pas ie měme děroulemeni dans toule* le» t«npo>an*es Dans bten des e-sembles. i« rnembro* cnuleui> aptjrenaieii: setilemrn á msmpuler Im marxxuKtici La ptupart de ces troupes povnaaat am pnUaBO ham appd a un «niste proies-'i-ir.r.-:    .-i den-.nndvr Ce -.jUcvoiei a lew "beirre Gráre á son mneaun. ľvruvmbtc pvu*dil prouver son orientahon anuttqua rupldvmvnl cl do facon viitble. Ainsi. peu a neu la po*it:on d«» ptattdBM aus theatres de Mrtonmrttaa *e renlorcalt c« qui entrainatt para-llělemenr. une certain* soua-Mtlmiilion des aulres composanre*
Deux theatres piiwtuon sont de* exemples représer.t*iti:s de ccs scene* Loulkovo dlvodln Umelecké vychovy IThéulre de nmriunnuties de 1'Fdur.ailon artlstique. créé
do 1Q14) M UinOlockd &o6na fw.i> Inuuk ftem» anisiique
du      ades murlonneite*. créée en 1120). Dsns leur programme, les dcux scénos inscnvlrent ľéducation arlisliquc des enfuiit» »puetttlourf. par I'm:ermédiaire d'impuisions anli'.iques nouvelles flans leurs grand es eignes, ellea ■. \ ■ :..uenl. luutes ies deui. des leur naissanre. de miniere semblublv Ccpondanl conaines differences apparurent dans lour trtivall. surtoul dam la conception • -  riq-Je de« m*tr.onr.cl!v» cl de U xcnc el nous, permener.i de mieui comprendrv K-vuluOon ce 1 art de la marionnette tchvque duns Id pvriudc ďentre rfeuT guerre^
Lu theatre de mannnn*rt*s Umekck« vrcaova fir. crOO cn lani que scene amateur aupre* ■- - ľAssocuuton d "in sUlulCurs de Pra/iie Sa creation rvprvsenluit un acte liistoii«i-e pour U premiere ioW. un groupc de pédu hwgues inv iiait ptuiieur* arti*fM a rollaborer a£r. dc crecr ensemble, une scene permanente cnncuB. děs le débui. coiiune un e*sai de theatre de marionnettes destine a I'Oducalion csihotique dec enfants
40
Dé|.š la mise on scene düiusiiruralion de l'opera Tiräxmik de František Sktoup ovuli permb á 1» troupe de manifester rlairement son rofu» M curacWriMlques du style des manon net tu tos ambulant*  c est a dtre ü stylisation de la vojt et des tnouvemenl*. Lw probléme de l'atpressinn vocale fut traiKhv. au inouu dan* celte premiére ětape. par le cho« dune (MHI rynque. Par contre. en intro-dmsani unc fawn nouvvte de mnmpuler Im manonneiies ojui permeiuiil de suppnmvr l* raldeur ei la maladresse des mou vemeni* de la m»non nette et d'augmenter (onsldérablenwnt sa mobilitě, le theatre s'esi nettemenl engage dan* um voie nouvella. feile d'un effet visuc! plus realisté. cest-á-din un effet !..-.■   de la mise en scene. Ces tendance» se manife*t#reni noiamnient dans la coneeption des manonnettes du sculpieur Hunu*
Folkman 11870 1930): á la difference das martonneties tradiliotmelle* populalnia. da sculpture baroque marquee, elles se distinguuient par un mndelage heaucoup plus fin, du visage en partlculier. et par la tendance á imiier. plus Gdcleoient. ks proportion* anatomiques du corps humaui Cetle luncvption »'e« encore accentuee dans les année* 20 oil 1« caract*re> du theatre Umělecká vychyra cult form* par 1« petmre* Ota Rubenííek tlSTl l&62) et Vil Skála mhki- iwrjl Bubeníček, en lanl qu'auteurde la scene. cherrhaK une realisation distmguce des decoration*, des rmileurs fines, des lumkrcs sug-řcsUves el. en general, une impression visucllc hurmo-nieuse de la scene qui devail émerveiller leu pelits spectateurs au lever du nrteau
ú V Decor ct iilJitoinxKis pom lu Am ft iliv mAde SbalBeapcaic par Anna et v<i|iiMi SuthinU /1>ív:kHo Hfc loutek,
Praha ľ>2í Photo artbties
Leurs regards découvraient de beaut paysages lehéques encouleun pastel.des re p n. harmonieusesde
pays évangers ou de* mnndes fecTiqucs. qui cherchaient ious á présenter ľaspect vraisernblublc du Leu de ľactíorc ľciécutton dětailiee de decors pcinis. des uccessoires plastiques et de petit* detail* de toule sorte qui compié-taient la scěne. tnut cela SOutitcnunt la tendance a une deacrípúon imitative. II en étatl de meme pour Vit Skála qui créa la plupart de* manoiinctlcs du ihúalre Leur caractěre était determmr par la recherthe dune forme artistique nnble. par le díiif de i uppiuther ia msrion-nette de ľaspect de lhonime Hendunee runforcée par 1'utilisation trenuentcde malériel* uulhenliques telsque cheveux. eir.l 11 csl siRiufitulir que lu sculpteur Ladislav Saloon cherchanl a sliiKuluriset' lo» penionnages těenmies
II
d'uiK piece do Marie C!.■■■>:.1 -      1 par un slyic marque All tlOuvcuu lUfdif s'csl bomO u K\ :ssincr des cost ume -■ do (;l ■.   j Li; ■. i .- iclies ci rostocs LnUacUlS par
COllc stylisulion Cctlc conception dc lu murionnulte irouvail sa plus grand .■ appreciation dans dus uttributs iugcanl les uiarioiuictlcs c*j::::::c •vivunles*. cummc •en rvaliUS-.
Lc :lisalre ftisa loutek (Royaume rics mannnnpues). r.rep par le sculpteur Vojterh Suchsrda Iltllv1-I««iuet sa femme, le peintre Anna Surhardova-Rrirhova [t803*!M4tj connut une evolution un pen differente. Dans ce theStre egalo-ment. la cnmposante artiscique est devenue l'elemeni le plus suggestif de la mise en scene. I.a scenoflraphie d'Anna Suchardnva-Rnchova evoluait d'une simple description du milieu vers des tentative* de le conccvolr de facon symbolique. an moyen de decors alluslfs. pour aboutir a une scene depnuillee. fonnee prtnclpalemeni par la lumie.re en rant qtrelerncnt unlficateuf ci dynamique Ces mutations dans 1'ceuvre d'Anna Suchardova furcnt, sans aucun dome, Influencecs par les tendances generulos de la scenowaphio ichcquc: loutcfois grace a sa Mcbordw assiduc d'un cadre scenographitiuc ideal. Suchurdova 'vi.i..'. a f-.111   progrcsscr revolution de lu soenographio du theatre de inarioriiiollcs.
Vbjtřcb Sucbarda. La rdle demerc le rtdcau
Detail de la decoration du nouvc) Hotel dc ville,
Voba 19W-191I I'botojin vietáb*
Wtflixh SmliaiiLi. ilřuiíl tic In il£xi>iulii>ii dl* 1'ťMVilirr iLmi la Calht .1:.'. Saint Guy, halu 1W7 PbfítOJ:H VSčiBČka
fa carnere de Sucharda. auxcurdc marionncucs au theatre flfíe loutek, » est pas moins passioniiaiiie Contra) re ment aui artistes qui coLLaborcreni avoc le IhčSlre Umělecká výchova. Suchurda avail subi une forto influence des inarioiincUes puouluires. On pout y voir une tradition fatiúliule son grand pen el sun pere éluienl d'exec lien ts sculpteurs de murionnettes. Suciiurda se renduit compte de rimports.net) scénique de la sculpture marquee, de "accentuation de la těte et de la pbysionomie des marionneltes pour leur caractéri-suliun et e'est dans ce sens qu' il créa ses diables. ondins. brigands et uutres personnages féeriques ou comiques. 11 n'echuppu pas. lui non plus, a la tendance de 1'époque qui élait dímiier par ['aspect de la marionnette celui de I'homnte-acteur. surtout dans le cas de figures feminines idéalisées. Mais lecorrectit'de ss creation emir son sens de I'eftet scénique et sa ťantaisie qu'il déplnyait surtout en créant. des personnages féeriques oil il n était pas oblige de respecter la realitě; empvnque. Cela lul permetrait de styliser 1'aspect snistique de ses mailon-nettes et de lenr découvrir de uouvelles possibihtés de mouvement et d'expression. cela grace á une realisation inédite de la forme et a un maiériol insolite
ta critique do l'opoque remarqua la difference de ■'orientation arllstique des deuu theatres en soulignant surtout la tendance plus netie de la styhsatiou urusiiquc du theatre díse loutek Mais du puinl de vue luslorique. cetlo difference no parail pas ussentlelle. D'une certalne !'■'. u:. les deux Ihcúlrcs préféraient 1'efTel eslhělique du cole vjsuel du spectacle. Us navaient pus encore Irouvé les precedes appropriés a la spěciltcité du theatre de tuarionneltos et n'uxploilaient pas les facultés extra-ordinulres de colles-ci. Cétait celte conception anthro-
43
pumorphiquu des manonrtcttcs ainsi que le ľni!, couraní, duns les theatres, d'uliliscr un seul ensemble de marion-uutles passant c. u ne piecu a lautre aprěs avoir recu suul uracil I un nuuveau costume qui les empěchait d'y purveiilr Ainsi. lu pi   iil ..    d'utiliser Ihyperbole urlisliquc cornmc la caricuturc et i'exagération était pratique u lent límilée par la possibility ďune nouveile utilisation de iu marionnetle. Malgré certaines nuances de style individual des dírrerents artistes, re phenoméne était caructérístique pour la plupart de nos theatres de marionnettes amateur. A cet égard. la seiile exception tut Jose; Skupa: bien que plasticien professionnel. il
Yl'jlvih SikIukLi. :Ii l:i dim mil ion ik* I ■ -■ i U ■ <l*nv.
la . ..rlm'.i.ik taint <itiy, ľiiiha ÜÄJ7 l'l/nlo/if} Vm-Iii'Lii
uppuyu son ttuvre sur la Ibnction théátrale de Is msrion-nette. sur ses facultas d'espresslon théátraie. en tendant. dans son travail, á limíter I hegemonie de ľartiste.
Dans les années !t0. une nouveile generation de manon-nettistes contnhua. de facon decisive, á une transformation graduelle de cette orientation. Ces marlonneitistes se rendaienr pleinemem compte du role do la míso on scene qui. pisque la. beneficiaii d'uno attention minime. Au lieu ďaměliorer les differvnics composanlus de maniere parallele, souvcrti non cuordonnóc. les joimcs metteurs en scene • Erik Kolár Jan Malík du theatre Umelecká výchova. Vladimír Smejkal du Ihúälrc ftíše loutek et d'auires ■ chorcheronl u orécrdes liaisuns structurelles enire les dífío-reiiics oomposuiiles. résulliml ď ml projel precis de mise en scünu U est sigiiifícaliŕ que le retrait progrossif des arlislos dus posies do direclion na absolumeiil pas enlraiuó do degradation du niveau arUstiquC; ä cetlu Cpoquu. on vit uuítiv plusieurs mises en scéno tvínatxjuublus de In pmtiiíoro rtiuiliú du XX" siôele réalisccs uvoc la collaboration de scénugruphes.
Cans rosu vra de Sucharda se dessina peu á peu une nouveile conception de ia marionnette, ďune part, sous
■'influence d'Anna Suchardmvá (son prniet de manon-netres montées de pieces rournées en hois n'a pas éiŕ realise, mais ses suggestions ne snnt pas restees sans echo}, d'autre part, á la suite de sa collaboration a vec le mettenr en scene Smeikal. Děs le debut des annees 30. Sucharda chercha des matérísux nouveauv et des realisations de torme susceptibles á influencer le sens déftnittf irradié par la manonnetie. Dans son ceuvre. il K a pas renoncé á ses principes bases fondamontalcmcnt sur l'illusion. mais H a su trouver le movon - souvent le mou vement. parfols ľaccentuaiioj) du malúrícl de broiUller ľeffet d'illusíon ct, grace ä ľoscillalion c:itrc ľíllusíun et sa rupture, il obtenail im runfurcumeiil de leffe t theátral
Dans les unnées 1930 -35, la scéne du theatre Umělecká výchovu vil s'imposcr le talent de ľarchilecte Bohumil Uudčšínský í 1890 194SJÍ qui. en collaboration avec trik Kolár, déploya tuut son energie pour réaliser une trans-lormation du Ihéúlre de murionneltes de son temps. Comme uuteurde marionnettes. íl rerusait la conception de la marionnette concue comme une imitation réduíte de ľacteur et il fut pármi Irs premiers á sontenir la nécessité de créer. pour chaque mise en scéne, des marionnettes entiérement nnuvelles. correspnndant par leur torme amstique et par leur realisation lechnique au projet de la mise en scéne. Avec le metteur en Mŕne Kolár, il réussit á mettre en valem-, grace au renforce-ment des precedes hroinllant ľeffet d'illusinn. les capaotés de ľefľer métaphonqne de la marlonnette et á prouver que le monde des animaiix ei des objets inanimés était trés proche du theatre de nwmnneties- De telies intentions marquérent la rechernhe scénographlque et de mise en scéne de Jan \falik ííKM-ISWl qui se concenirait sur la fonciion de ľespace scemquo par rapport á la con ception de mise en scene kí la mise en scene d'Gľťífoei A la On des années 30, lieuvro de Budôšíuský. sur la scene du ihéátrc Umelecká výchuva. Irouve sun conti auatOUr Cn la portonno do Frwutišuk Vujáčck' 1803 1042). Celui ci. par une couceplío:i badine el humorislique. suuligiiail le cumclere essenlíe! des marionneltes et slímulall I imagiuu'lun des oníaiils. Sa meilleure realisation scOnugraptiiquc fut la creation de la scene ei des muriunnelles puur iu mise en scene du Maitre des rals d'A Hirsch, une des ojuvres cupítales du theatre de uiarlumieiles de lu premiére moítič du 20° siécle.
Cräce á la collaboration systématíque du metteur en scéne et du scénogrsphe dans les meílleures míses en scéne des années au. la rnmposante artistique fut affranchie de sa simple tbnction descnptive et decorative pour devenir ľélément actif de faction théStrale et la pnneuse du sens communique. A cette énoque. I'évohmon a protivé que, měme dans le theatre de marionnettes. la recherche de ľexpression artisiique consdtue un processus Qui SC rennnvelle sans cesse en věrtňarn le rapport du proiel snistique á ľensemble de la mm en scene amst qu'ä la spécificité du :hŕ.ítre de marionnettes. les années 30 fnrent celles de ia recherche des fondoments de celte spérificité. Auioiird'hui les resultats du iravail des marionnettistes tcheque-S nous paraissoni évidents
Parmí ces marionneuisies, les attisiesdes ihOilires flííc loutek et Umelecká výchova iícnneni la place d'huiuieur Et c'cst Rráce ä leur rcchui-clic d'liier que uuus avons nos certíludes d'auioiu-d'hui
'A
PUPPETS BEFORE THEIR TIME
Les marionnettes qui ont devancé
leur temps
Nina Malíková
Hjnd-i>a>|*< Itv Limil.iv Svih. ľniijuc ÍVW   llnnumn-hint
Am o* i evcr> ailrsl returns to his childhood a: some poim dunriK hl* lue. whether Through recollc<tionj and memories or during the creative process tttclf Fspeaally if he experienced a happy childhood suirouiKicd hy his IO*Od one*, like that of eminent Occh Kraphic artist Diofevvof Jaroslav Sváb (born 21.5.1906 in lluUunin). Sváb, no» 91. fondly rum embers his time Spool wMh hi* grandparent*, lit llodonin nr.d later in Tabor, and Iii» Dr»i experience in Ihualr*. in particular, puppet theatre Ihw inspiration from thin propitious encounter rtiuiiife»tod itself in S-viU. work on several occasions, and lo this day provides him with one of the> most vivid images of his III*.
"I begun working with puppet theatre in Tábor when 1 wm a boy while will studyi ng at secondary school. At that time they bed a hand- puppet stage sot up in the "L MedlnkO' restaurant Mhere 1 spent much of my time It was professor Kobrlc al the school who inspired my
interest si puppets and who waa the first to design puppets based an the work of Mikulai Ale*. He would bnn« rac the licads and bodies of puppets from Prague- and 1 would make ihem up myself I remember well taking my hnle rheaire with ils liny puppets to the V Tesiiein" pul) whore •mj      i to give performance* for the local children. Irom then on 1 was hooked There was aUo a women's association in Tabor who osed lo perform theatre They hud a fairly large marionette theatre with puppets about 30-:if) cm rail. Our headmasters daughter used to perform in this ensemble and 111 never forget the time she showed mo the cupboard where rhey kept their entire relinuc of puppets I: was such a wonderful sUfht and 1 knew then that I was destined to a life wirh puppet* My bond with the theatre which 1 later performed in Tabor as on amateur and also directed and designed myself must hate been formed somewhere here-"
Professor Sváb nad a second olianco to run his own theatre during the late 1930s when ho designed his own little family puppet theatre, lit thai time merely for his son's amusement. This improvised domestic Stage was created from the simplest means He was faced with a more complex task in 1940 when commissioned 10 include a hand-puppet table theatre for a public audience in the comprehensive applied aria progruminO Organised by the Work Cooperative. In the autumn of that year the Cooperative began selling his hand-puppets, his efficient stage constructions and ingenious stage designs During this period larosiav Svab was running the OlTiciuu Pragensis private school of graphic art ll&39-!>£). founded by prof. Steiner in 1931. The school taught applied graphic ari. stage design, poster amd bookbinding design and designs for textiles, toys and puppets. Pupils from the school included painter and graphic artist Libor túru. stage designer l^dislav Vychodil, illustrator of children's books Helena 7rnatliková and the distinguished puppet stage designer and graphic artist Vojtěch Cinybulk. Ofii-cina Pragonsis not only provided tuition hut also gave hand puppet theatre performances for students and friends in its studio in Oniric hova street - those involved in Ihe production of Princezna Cáiypi&č íTTie Scribbling-axil-DrawingPtimtast have- fond memories of the occasion to this day.
Šváb later encountered puppet theatre after the War -this time in an attempt to influence the design of puppet stages for family theatres. In 194? the Vilímek publishing house published a collection of Svábs printed Stage designs for small 18-20 cm marionettes untitled 'Jaroslav Svsb's Puppet Theatre". Josef Skupa welcomed the publication with the words: "This issue of ptinled stage designs is a landmark for the genre in Ihis eounliy As a theatre designer and member of the great Czechoslovak puppeteer community. I am overjoyed at the publication of this work. We must surely be the envy of everyone, all Over the world Xnthing else like it exists anywhere else. And. as a professional. 1 can only shower it with praise for its wealth of combinations of construction and its free conception"
Svábs printed stage designs were extremely favnurahly reccived. however, they remained an isolated endeavour, perhups also because they were never accompanied by a
Vítaní* cťniaikiiirtliis Iiy JmkisLiv fival). I'CJgUC lfl3?-J040
puppet production series. N'evenheless. a few- years later 119501 yaw Sv&b designing a series production for small family theatres (with four scene changes) which could be dismantled to fit in a box. The small puppets intended for this typo of theatre, created on a lathe, never passed the design stage: a similar fate met another project the
-.4.
4«
following year where   i       v Sváb designer! a simple hand-puppet Htgg and puppets for the Centre for folie and Art Education H# also designed a NO typ* of poppet theatrv in is*! comprising twelve wooden figures turned ~r a l*the lieiithi GO cm) which were Attached to st:ff wires cr-oniied with little ball'; This simple artistic conception evoking children's toys influenced by folk an seemed to draw inspiration from the world of S^b's childhood and boyhood spent in Moravia and Tiibor. The desíRti for lhi» tiny theatre "for the yuuntfvit audienre" was exhibited at fho EXPO IIS8 in Brussels, however sadly nothing ever came of its production
So much endwvour. *o much expenewnutton. an many calls to producani and potential audiesco! from pup-neis secured on wire* to hand puppets. Crvm umhnious family theatre lo miniature stages furthildrvn Bo many
ideas for kindergarten piayrcoms. such ingenuity ideas which were not based merely on Technical skill but also on a thorough study of the possiMroes which theatre repertoire and direction oflered In contrast to the market attraction of CtOCfa marionettes flooding PfOflUS and other Oerh towns chiefly poor cnpie*; of the so tailed 'Mftnfbtra puppets' from the first few decades of this cením*}' • Svab's unrealised designs and their piuiutypcs are simply a sllonl testimony ro the iinhoutd views of a great C/och artist on the new ideas and mod designs possible in puppetry Lovers of rheairo adiiuiv ur.d respect :he . i ii i- i ■ which survived řrnm the wood carving and pnppeiry Uuuhaus workshop. Svah* experimentation m puppet    ,i .1 - *hxfc in the sphere yf upptvd art. nwches them in many ways, is it: 11 awaumic dAtuvary. Perhaps his puppets will ln« ro see ir.e era in which they emerged before their lime.
*Clai\*)sbiv M;il> pupptOJ and theme for .'null i ItlUin-n. l*W3-i*w<i p*w> aadtann
<l*u;q<c-i ilnirrol |jro*Llv >v2h. úeriffi Uw i-unMrucuon. puhkshnl In J B Vftacfc. Piapuc 1"MT
>Jmi***\ $v,ib.
it.-i thr IW)*
47
Pesoue tous les artistes, que co soil dans lour souvenirs iu dans leur ceuvres. reviciuionl iiu moiiis uM fois ä laur enfance. d'autant plus quaud colle Ci fut hourcuse fit entourée d amour. Poux 1c profusscur Jaroslav Svjíb. eminent graphiste tchěquc qui a ccTěUró, ľan dernier, snn quatre-vingt-dixiôme aniiivcrsaitC I* 24 mai 1906 á Hodonín), ces retours en arriěre évoquenl son ciifanoe Djagsefl cheJ! son grand-pére ei m fmti mete d'aWrd á H;'<. et plus lard á Tábor, air.si que ses premiers contacts ave/ Ifi theatre, lies au theatre de murioimcltes L'taSplration f|ti'il va puiser de cette époquc se rolrouvc SOUVOM dans son ceuvre et de ses propres muts eonsliluera l'image la plus accomplie de sa vie.
•J'ai eoiiuueiieé á lane do theatre de marionnertes á Tábor quaiid j elais lycéen A cene époone-lá au restaurant •U Měuuikú-. il >■ avail une scene de maiinnnettes á gam. oů je merenduissouvem. Cest Monsieur Knhrle. mon professeur de lyceu, qui a éveillé che* mol Tintěrěr pour les mtirioiiuoLles. 11 ful lo premier créatenr de marionneltes ďapres les dessins de Mikoláš Aleí II m a ameně de Prague des léles el dots corps de manonnettes et mni. je me suis arrange pour ftibriqucr lu reste Jo revois tnut cela comme si cétuil hier je porlais mon pont theatre aver les toutes petites miirionnelles au restaurant II Těši*elú> nů nous avons dotuté uolre premiéro repre-sentatinn pour les enťants des environs DepuiS. j'ai 6té passionně pour les marionneltes A Tábor, il y avail unc amicale temininequi fuisnit aussi du theatre C'élOit un SSSe* grand rhéátre de uiuriouiicllOs. avec des manonnettes de 30 - do cm. La fillc du dirceleur de noliv lyww ětait egalement membre de cette amicale et je noublicra: jamais ie moment od elle a uuvuil unc armoire l>our me taire voir toute la 'troupe- de marionneltes ucerouhéo á ľiniŕTtmrr. .ľai ěprniivá unn grandu joiu c: jc me itus sen;), tout de suite.       ié aux murionnotlos. Cest suns aucun rinute de lá miest ně mon lien á vie avec le theatre - plus tard. á labor, j'ai fait du theatre amateur, de iu misc en SCOfiO. j'ai crěe des decors.>
La dcuxiumc rOQCQOirO <iv Jaroslav Svál) avec. le theatre de marionuelles date do la fin des annees trente nů II crea un theatre de inariormettCN. íamihal pour faire plai-sir á sun tils. Cello petilc scene famihale se conrenrait de moyens assoz simples C'ostcn 1040 Que Sván se vnit mis devant unc Uichc plus diCGcilC on lul alors demande de réaliser. pour le riche programme d'arts appliques de Družstevní práce (Travail cuuyétttufl tul theatre de marionneltes á gant. destine nu grand public Des 1'automiie de la měme annee. Družstevnú práce mel en veilto les manon-netres á gant de Šváb. unc construction fonctiOitnctlc de scéne avec des decors ingenious. A eelle épOQuC-la (l93e*1flS6>. laraslav Šváb dingu déjá une čuolc pnvéo ďarts graphioiies - Oňicina ľrugensis fondée. en 1M4. par le professeur Steiner. Le programme de celte éuolu ěrait compose dans graphiques appliques, de scéno paphie. d'afhrhes. de projeta de ruliures. de dossins les tiles, de jniieis et de marionneltes. Partni les aiieiens éleves de retre écnle. on irouve Libor tára. peintre ol Rvaphiste. fariisiav Vychodil, scénogruphc. Helena Zma Mikova, illusrrateur de íivres pour enlanlsou Vojlěch Cinyfitil>. stenftgraphe de théá'.re de mtiríonnellĽii ul graphiste repute. Ofticiria Pragensia ne se burnuil pas a eiiscigner. mais dsns son atelier rue Diitricftovu. pour le divertissement des ěturiiams e:, des amis de ľécole. on
faisair du theatre avec des mbrionneltes ú pani: CCux Qui out assisté á la representation de Princeznu Curyu/ít.' Ho PřTíďMi? 7nagicitinne) s'en souviennenl encore.
Le contact suivant de šváb avec le theatre de murion iiettOS a en lieu aprés la guerre - cette fois. on chcrchuil a inlluencer le c araciére de decors destines uu theatres de iiiariOíínettesfamiiiaHv. Fn 1B17. les Editions Vilímek oni public, sous le urve -Théárre de maricnneUes dc Jaroslav Sváb- un ensemble rle décors impriměs. realises par Svab ut destines a de peiites marinnnettes de 18-20 em do haul. Josef Skupa actseillit la publication de ces decors en disani: -lis marquent un tournant dans le domaine dc Tcdiliun do dOÍOi*S impnmes. dans notre pays. Je m'eu rejouis en tanl que scenogi'aphe et membre de iu grande famille dos marionnettistes tchěcoslovaques. Le resle du monde \HiM nous envier. Nulla part, on ne trouve chuse seniblable Comme praticien également. je dois exprliner mes coinpliiliOiilS; COS decors penuettent une grande varieté de combinaisons librement roncues.«
l.es decors imprimés de Šváb furenl Ires favorabloment accueillis. mais leur publication restu un aele isolé du fan sans dome, qu'elle ne fut pas doublce d'une labiicalion en s*    de marionneltes. Or. quelques tinnOcs plus lard 11osni. II en fut de měme du projet d'un theatre laiuilial realise par Svah pour la fabrication en série. 11 s agisstUt d'un pent theatre avec quatre changements de déeur (lu'on ponvait ranger dans une boite. Les petites niaríou neites touiněes. dessíněes pour ce petil theatre u'oiit ja mats été réalisées. Un an plus tard. Sváb voii fichouer un autre projet, relui dune petite scene simple pour ntaríon-noUOS ii gani. Kn in.SS. ňváb ciessme encore un autre type de theatre de marionnettes. eoiupoitanl douzo Hgurmes on boís tonrně (de     cm de hautl. munies ďune trinKle mélalliquc solido, terminéft par tine perire boule. La sgnpheílé de Lour conception anistique ěvcquait des jt)uets popidaires 01 somblait confirmer I'inspiration que Šváb avail recu de 1'univers de sou eiifance et de son adolescence en Moravic et a Tábor Ce theatre minuscule pour les -lous petíts- ful proscnt& .1ITXPO 1088 á Bruxelles. pourtant il tťa jumtus été mís on fabrication.
Que de travail assidu. d'essuis. quo do déns adressés aux fabrícants et au public polentíel! DOS marionneltes á nls aux marionneltes á gum. dUn theatre familial amhitieuic á une scene minuscule concue puur les jou* ďenfants. Que de suggestions pour les stdlcs de jeu ďécolos mater-nelles: que ďínvenlíuns ingéjdeuses. lecluiologiciues. res-pectan; rignureusement les besuins de lu dlitmaiurgie et de la mise en scene. Aujourďhui les marioiuielles com-merciales envahíssent Pra^e et d aulres villes tcliiřquOS 11 s'agit en majeure partie de copies médioeres de marionneltes dites 'Mimzherg> du debut de ce siécle. A cólé ďelles les projeta non realises et les prototypes de Šváb sont des téinoins muets de conceptions měconnues ďun eminent plasticien t cheque, esquissan*. des possibililés nouvclleS et une forme modeme de la maríunnetle Los mari on nenes qnon a pn rortserver de 1 atelier de sculp tore du Rauhans jouissent de Tadmiralion et de 1'estime du i ■; i' 11        i ■■"■'. les creations théátrales de Šváb qui sont. dans le domaine des arts appliques et á mainls ógards,'-■"'i'".'-. ■ ■:!!- - du Bauhau<; Kemblenl lou jours attendee COlul (|Ui les dácmimra et les íera renailre. Pout ělru atleildcm-ollos siriiplement un temps qu'elles oni devuncé
41i
THEATRE OF JOSEF SKUPA
Le theatre de Josef Skupa
Karel Makonj
JllSťf M\U|xi I'.illl lilt" (ircil:!^;;;"-!^!-. <>l "i- ihťJífe
I osfifSkups f 1092-1057) was one of the bust-known t# personalities in Czech puppci theatre If it ton be said thar his birth was propitious, ihrt may SVSffl paradoxical, since the Fmst Worl« War broke oul before be had completed his studies and ho hatl lo join Ihe army. Bur the period of his yoolh was. also a period of significant transformations in artistic currents and styles culminating
in a confrontation between "young" and "old", between traditionalism and innovation. All ihcse facts indispuledly infltiencfid Skiipa's finxlier de.vclopmuui and his exceptional qualities really consist oC Ihe fact thai while he was essentially- RravHatmfi towards lite contemporary developments in artistic trends, ho managed sensitively lo combine the traditional «*iih Ihe modem in bis work lor theatre.
4ÍÍ
k.siT Ski<|;:i atlxaKl l'-l.-
In some ways il is possible* to compatc '.lie period when S.<upa whs studying l9i 1 1910 to lliu L&SCs when in .Ii. world of Czech theatre. Ihe iih1 of the small the*ini sometimes known us 'the Ihcalres of small forms*, such as Ihe     -jI:--/ on Ihe lhiJusiradc. Semaphore. Faravan -was slowly but markedly beginning to assert itself. Similarly, immediately before the first World War improvised cabaret evenings and revues t'smuli forms*' were popular in Prague. Skupa regularly and actively took pair ir. them while still a student at Prague's School of Applied Arts. These student activities often look place in student pubs. Skupa really was the life and soul of one of these pubs. "Ii Hslanku" or. Betlemske namesti. He ap-pearert there together with two students of sculpture: Frantisek Fis'a. who later became famous as a theatre and film comic actor unrier the pseudonym Ferenc FtttortBtat and Karel Dvorak, who was to become an outstanding Czech sculptor, ft was charactensncally to predetermine ihe course of Skupa's artistic development (hat he began to study drawing, painting and graphics under the guidance* of such teachers as Amost Holbauer. Franusok Rysela, Karel VSte-'slav Masek and Karel fipi-lar In his free limo he devoted himself to sculpture and look ihe state examination m ihrec-di "tension a! modelling just afier the war in i nig
Jl ia clear .'ru::: i.';e cjtlviil ufItiusu in;wvs-> Ihtil was yrr-.'- .'-n     towards tj- .1.. stage design and puppet design, which does not mean that he was from the beginning concerned wilh the marionnettes with which he was
later to make his name. Even at the cabarets in "U Halánků*. Skupa appeared with his models for hand-puppets and later designs fur the heads of hand-puppets, which he designed for serial production in 1917. and which bore many elements oť Ihe grotesque, liven today we may still find links between these and the appearance of Skupa's popularised duo of father and son. i.e. the marionettes Spejbl and Hurvínek. During his stay in Prsgue. Skupa nn doubt >- n■ ■: 11 rr ■<■- :1 type* of puppet rheatre other than cabaret, and he took part in the premiere of Skroup's Drän?«fit I7h<í Tinker) in January 1911 at the Divadlo Umělecké výchovy (Theatre of Art řdncationl in the Vinohrady district of Prague. The traditional, even archaic, forms of marionnette theatre of the C7ech Association of Friends of Puppet Theatre which performed m the Kvnskv Gar-dens did not escape his ar-tention. Nor was Skupa without experience of straight theatre, pamcularly concerning the extensive senes of Shakespeare's plays which was organised to mark the occasion of the -tooth anniversary of the poet's death by the impressionist theatre director Jaroslav Kvapil at Prague's National Theatre Tins series was an outstanding artistic fcul. given llial this was the period uf Ihe first world war
Before entering the Pilsen puppet scene. Skupa had ab sorbed various tendencies of the period, and his experiences facilitated his further activity in that field, ihe beginnings of his stage-design work in Pilsen did nut lake place in Ihe puppet Iheatre. but. paradoxically, on the stage of Pilsens Městské divadlo IMunicipal Theatre), where Ihe emerging artist received an oiler from Ihe director. Karel Veverka, to work on an external projed. lAt the time he was employed as a draughtsman al the Skoda worksl. At the Municipal Theatre Skupa in fact became the fin: srags dösisner tn cresie an original set for ju« one performance, which wan the premiére of Talisman hy Ludwig Fulda in Novemher I91B. IThe practice at the time was tn put togerher sets our of the theatre's stock of scenery, or out of mass-produced standard components.)
Skupu 's artistic flair for stage design was significantly marked by iiupressiouisui at Ihe lime when Iiis cabaret hand puppet activities betrayed a feeling for the groles que and even impressionistic slylisaliun of puppets, which he later put to use especially in his two puppet prolagonisls Spejbl and Hurvínek, who arc inexlticubJy linked wilh the name of tlieiriiilerpreler.
It is yet another paradox nf fare that precisely at the time that Skupa courageously an d successfully enrered rhe tenitory of drama, be hegan to think ahout founding his own puppet theatre. This decision quickly proved tn he a fateful and fortunaK-one.
A fine amateur puppet theatre. Divudlo l-eriúhiicJi osud ('summer unnp theatre'), which petlormed in the Mesiánská besedu (Civic IIa!!), had existed in Pilsen since 1&I2. At Ihe same lime as Prague's so called 'artistic' Ihealres wanted lu distance themselves by their name from the itinerant puppetecring dynuslies. expressive artistic personalities, who were determining Ihe style of those stages, a'.aoc at the forefront in '.he Pilsen theatre, which, was relatively well-provided for in terms of personnel and craftsmanship. They were waiting for an outstanding artistic personality who would invigorate and modernise
50
Skupaí travelling conpsoy
the artistically Indecisive and fairly backward style of Thai theatre JosefSkupabecame iusi suck a personality in ifl 17 For thirteen yeais ho Influenced and shaped the company at the Divadlo Feriiltúth osad os an outstanding mterpreicr. designér, technician, builder, director and dramaturge Skupa began lo realise Iiis dreams olu modem puppet theatre by refomiing the stage. Ho "liberated* llic puppet stage of the Divadlo teríuJnich osad from the burden of :1s baroque fculurcs. i.e. from its use of borders, overbuilt Sots, elaborately painted proscenium arch and back drop, lie "cleansed" the singe to allow puppets to perform a:id even síioncnird the operating strings to enable easier and more vigorous manipulation of the puppets Skupu supported this 'liberated' stage in an ostensibly very simple but iior its tfimt quite unexpected way: above all by using an ample and striking lighting ng together with colour filters, thereby achieving an unexpected and emotive effect. This principle, which is illusion ary in its basically impressionistic nature, ultimately became symprnmarir for Skupa's own theatre as well. The latter wss a professional theatre which went under the name of "The Ptisan Puppet Theatre of Professor Skupa" which he founded in linn.
Quite apart from this are Skupa's relations io the actual puppets, which lie himself not only designed but brought to completion as maker and actor as was the ease wilh other designers IKore) Mobek designed and carved iho tiiodel of the puppet Spejbl in 1020 and. six months later, the wood carver. Gustav Nosek, created the character of Spejbl * son Hurvínek.!
The form of the review, very popular st that time, found fertile ground in Skupa's theatre and ir was nnr by accident that the production manager at the theatre of Voskovac and Warich at that time worked hard to negotiate permanent cooperatinn with Skupa's theatre and CO have them as guesrs in Prague's Osvnhozene divadlo (Liberated Theatre). Even though this did not come about, the closeness nfthe two theatres' poetics is evident both ir. genre and in the privileged standing of the two protagonists.
One may see a certain resemblance to Ccccli ilioutrica! pnptism in Spelbl's costume   in a cuiubinulion of the frock-coat of a gentleman and the clogs uf a rustic (Moreover, interest in puppet costume was typical for Skupa. as was evident from hú firsi puppel stage works at tlie Divadlo Feriálnic:; osád i:; Feed's play Soví hrad {Owls' CasUe. 1017) when the figure of Kašpďrek was given a frock coat. Thanks to Skupa's conception, this r:.'[:.:.:.: pupper. thcairc figure front the Divadlo Feriálnirh osad wus Iransformed into a new form, not only in its cos-luiue. which was u airicaiure of a ministerial frock-coat, but in its entire satirical conce pt. It then became a sort n: prototype fur the futúru protagonists in Skupa's theatre. In connection with this, one ought to remember the figure known as Kukuňčňák-Duha I'the rainbow maize-man"), the first Skupa type of puppet, which may also he dated lo lft 17-1013. I he character of the uncle with an enormous moustache, dressed in semi-military attire, was a caricature of the Pilsen unit of auxiliaries, who were responsible for making sure that foe queue-s for war-time rations Of
mai&c bread wore orderly The internal bond between the comical and all important Kukuíičáák ar.d Iiis later character of Spcibi menially clamouring ur.d discontented, is undeniable
The facial deformities of Skupu's puppets cmphi • llio caricature nature of their gruicsqucttcss. Skupas vocal interpretation also corresponded tu this, making use of such contrasts as ti deep bass ISpejblf und high falsetto UlurVitwU, Skupu used this principle in the case of Spejbl ar.d Hurvínek for the ťirst time sr.d Likewise applied it in the speaking dual role of the bass Hýhrroiií-Johanesand ihe falsetto of the tailor Cemerka in a production of Jirásek s fan Johann.* lA/r. .'oňanne.O. which appeared on "he stage in I HI T at the Divadlo Fenálnic^ osad. One may otherwise seek inspiration for rhe dramatic form of the glorious Quo in Skupa's interpretation of the roles ní Kašpárek. Skrhola or Kukuřirňák on this Stags, in which, by his gift far iroprovisannr. and undeniable comic ialent. Skupa had vrtn over the Pils^-n pubhc long before the two popular figures of today were born In photographs from the parted nf the original puppet! Of Spejbl and Hurvínek, it is clear ihat these puppets are moro do formed and caricatured than puppets of a later period, modified and dignified by many designers [among whom appears the name Jiří Trnka) and to ivliat Oxleot Uioy il luscrato the palpable attempt at sotting offa dramatic type.
(TÍM character of Mánička. Hurvínek s cuii temporary, was a later addition to iho fauiiLv uf SpeiUl and Hurvínek and the sauCjr concíecflo Mrs Dědková was anotlier ex pressive type who was w vil uaflj Utua&niwd into Mumciius aunt Kateřina, forming a natural female antithesis iu the flaute of Spejbl. Hurvínek s dug. Žoryk. ulso becume an import! ntoiiiuurof this "serialised family Lfutinspitoof all the cliaiiKos at the Umo, from whicb comes their cari-uiturc Jialuru and a ceriuirt tuiisljc deformation, the ability to move and eventually even [he ability for them la be made use of in diverse dramatic situations produced types whose pupulanty even extended beyond the borders of their interpreters lives land this applies tn hoth Inset" Skupa and his .successor. Miloš Kirsrhner). Skupa was a versatile artist of the non-literary, essentially theatrical performance, in which a symbiosis of his experience as author, designer, director, technician and interpreter had to he effective by means oi a unified impression. The caricature nature of the individual figures was actually their unifying principle. These figures differed from the creatively neutral rr.arionnettesof the previous penod. for which almost historical costume or even folk cosrnme had been characteristic
As a child of his time. Skupa swung between the unpres-Sionistic principles of a Stage liberuted lor puppet acliiif and the expression istk tendency to emphasise the puppet character us a thai nalit: type, lie bridged the clear difference in these two principles by his mastery as an aulbor und interpreter, just as in a masterly way he managed a balance between Lhe tradition u: popular puppet-ccr::ig and accomplishing it adequately in the broader ar.isiic context* of the period. The result of both Skupa's attempts wus success in front of the audience, manifested by the creation ofnis own professional theatre. It is today an undisputed bet thai the existence of Skupa's professional theatre in r- ill was ol primary importance for the development of a network of professional puppet theatres in Czechoslovakia at the snd of the IMOs.
I   luand on díl dne Tone des plos Standes fjguros du ^drjthearre de marionnettes tchěoue Josef Skupa [1892-1957)0 stí blen cholsirle moment de sa naissance. celapeut paraitre paradoxal Tl n'avatt pasencote lormi něsesetudes quand la premiére guerce mondiale éclala er Skupa dm remmdre son tvjgimeni. Mais pat-allelemenl. le temps de sa leunesse fut cclui de gc-aiids ch.mgotno:its de tpanm et de KyloS ariistiquos, celtu d'uwe confi-on
latiOil croissante onlre -los uncions et les modernes-, entre le iradiiionahsme et 1'uspnL oovolour. Toul cela in-fluoncí ■.ni. aucuit doule. ic développemont ■ rlislique de Skupu et sun unicilé consista dans le lait que lout en utajit utlirc par les lendimces arlistiques modernes, il sul marier. dans sun uruvre Ihcálrule. lu traditinn avec le moderně.
Lúpoquc de ses unnées ďětude Ilel MOlfil est rnmpa-rable. duně certaine facon. aut années 1060 de notre siěcie uů on remurque. dans le théátre trhéque. une munice lerne mais cenair.e des petits thěatres. appelés parfoís -thěatres de peche- tta *théátres de petltes for-mes* IThéštres Na zábradlí. Semafor. Paravan etcl A la veílle de Is premiére guerre n&ondtolOi le public de 1'ragje apprériait sussi les soirées cabaret improvisees. les revues - done également les -petitcs fonnes- aus quelles Sknpa. alors etudlonidO VF-COie des Arts detora tifs. partiripa-t iíg.íliéremeni et irěs aciLveniem Ccsspoc tacles. avaienr heu pnncipalement dano les bisirols étu diants. i.im ďem. organiseau cabanjt U Halánků. placu Retlémské. était animé par Skupa [1 í'y ptoíluisail avec deuv. én;d>ants en smlpnire - Tranusek Fiala qui deviendra. plus tard. célébre comme coniiQue de theálrv et de cíiiěma sous le pseudonyme Ferenc Futurista, el Kare! DvoHUt,
A Spejbl ct Hurvinck i íc-ngiiie ct maintcnant
?2
ti- I
tulur el einiucnl sculpteur trtheniie Un fail cardt1emuc.ua detormuia le duYeloppemem ulreneur de I'urlible: Skupa comniciicu par lex etude* de dassin do peinturu el da grapiiisino uwurue* par d** prnfe&seurs reuomme* • Amosl Uofcauac KrnntiAek Ky*ela. Xarcl Vitetslav Ma&ek ou Karel Spilar. A ae* monianrs libres il M cunsacralt e«alemenl a la sculpture et apres la guerre, iixl rccu encore Adf mode-a/e 119)0»
Let endue de*e«reniiv^d Jilerc'. laisse derinerque Skupa i*-si: anire auw bten par la >eL-r.u-graph:e que par le desam tie manannene* Ccb no %vut p*» dire qui! <ncrupa dcs 1c
debut des manoiuielles qui. plu« tard. devaleni lo reudre relehra. C esi au tabarel U Halsnkfl one Skupa prescnlu ■a* BtVdM iouiub uvce dos murinnnetteft a gam Los leles de manormeilos a gant qu'il dewina pour la fabnculioii en **ne II0I7I poilaienl dejabeaurnup de trailsgrotesques OJM nous rallachons aujourd'hui a» couple de uiarion-neties a fds devenu populaire grAre A Skupa le pore Sprlbl CI jou £is tiurvinak.
NalureUemeRi. au cour< de son >oi a Prague. Skupa dot0- d'ainres types de theatre de sanonsetres que telui du cabaret. F.n Janvier 101«. d a»»lv a ia premiere
53
de Drflíďnift lllaccomotieur ciť (aicnccs* de Skroup. qtu ir-iujniíii le thóálre Uméluuká výchova iPducation aiiistiquel de Vinohrady ainsi quuux ruprésonUlliOns du thěátre rie fUnion lchěquc dus amíb du lliúáire de marionnenes (Český svaz přátel loutkového divudlal ihéálro traditíonnel et volonlairemenl uithaíquu ut quí jOuall au pavc Kmský Mais .Skupu hit égalemoiil inůuoueé par le ihéáti e drama-tique. la plus tbrte du ses ímprossiuns ayuul t-ans doute é.iě le grand cycle shakespeuricn orguuísé á 1'occasion du 400* anniversaire de la mort du poetu, par Jaroslav Kvapil, metteur en scér.« impressiunniste du Théátre ">-':""'! rie Prague. DansunconlextedugucjTe.il i:      mamfesratinn artistique exceptionncllc.
Oř. avant d mtégrer le milieu riu thěátre de marionnettes du Pl/cň, Skupa se laisse nnprégnerde diŤíerentes tendan-ces de Lopoque et gráfe k rette expérience. il put mieux dÓterminerses cholx. Curieusemenr. ses děbuts de suenuK-apriC neurent pas hen dans Bfi théáti-e de marion-ncllus. jnais au Théátre rmmicmal de Pl?eň. En ettet. le jcuiio urUslC (á COlie épOíiue dessmareur teehnique des uvineš Skodal řCCÍU une o-Hre de coiífibnration de la pan du direclcu:'Karel Veverka Skupa devlendra ainsi le premiér scěnugrupho ů créur. au Théátre munimpal de Plzeň, des děcors dostiiiés a unc seulo mise en sr.ěne ijusque lá. il élail couraní du montér les décors du fond du thěátre uu ďélómcnls fabriqués en sérlel. ha premiére de la piěce MisvncirieúlUuucii novombre 1516
I.e style srénncraphique de Skupa úluil uultumoiit marqué par nn.-m. landis que ses spcciaclcs
de ,-aharei. aver les marionnettes á gaiil. Iruhissaiunl utl sens du grotesque. voire méme ďune stylisalion expres sionniste de marionnettes. Ce style murquu surluul le C0'ip;e de marionnettes-protagonisles * Spejbl et Hurvínek, ndisociahleí désonmK tiii r.nm de leur imurprěle.
Un uulre paradoxe du destin. au moment 011 il s"engage. uvcc couragu el succcs. dans le domaine riu théátre crainalique. Skupu prcnd la décisinn rie fonder son propre théňln: de marionnettes. Ceue décisinn devra se rěvěler. trés lút. capiialu ut hcurcuse.
Děs Ifltt, il y avait á Plzeň un bon tliéáliv de marionnettes amateur. Divadlo teriái::ieh osad (Théátre ÚC COlonies de varanr.es - ses bénéllces aervuieiK á payer les vacancos des enlánts pauvres). Ce théátre juuail ú Mesiánská besedo l.es grands théátres de marlunnettes pniguis dits •artís-tiques>. : li "i'" '•.        a se démarquer. de par leur nom méme. de la production des dynasties de murioimcllíslCs amhulanrs. lis éraient dirigés par des individualiles artis HQues qm déteiininaient le style de leurs scěnes Le Ihéúlrv de Pl?eň. lni. tout en hénéňciant ďun appui artisanal et personnol solide, attenóair tnujnurs un personnage créalií capable de dynamiser et ďactualiser le style hěsitant et légérement -nngarri- de re théátre.
Cest Skupu. suénoKraphe. technologii* W ronsmicteur. melieur en scctic el dramaiurge. qui pendant 19 ans á partir de 1917 va ínfluoncor et former la troupe du théátre lerlálnieh osad 11 commence á réaliser ses réves dun théátre du inarioiuiellos moderně par la reformě de la scéno. 11 -liběre* la scoiie du polil ihéáire de son fatras
bsroquu • dus Discs. du rctiuomljrement de la scene. de
la somptuositéde lávaní btene peinieel de rarriéifrplan. II -nettoie- la scéně pour ťairc pláce uu ieu des marionnettes dont il raccourcil los fils puur en facihtor et dyna-
liohumil Krs. líuíui Kuťiiriíiíái.'. nukiúiwicnc du c-abaicr dc |t»cf Skupí, V\'ri\ 191S r*o» arcbtces
miser la manipulaliun. Puur runfurcer lefTet de celte scéně «libérée* Skupa se sed de muyens simplos ma>s inédits á cettre époque. Ainsi. par une ulilisalion extrémement variée et originálu de luitúércs el de Dltres rolorés. il obtient une émotivilé el une uimosphorc mattendues. Cette mamére de fiure íllusiou uu fond. <>•■■ impressionnisre devra caraeiérisor. plus laiti. sun propre théátre len       il crée une scěne prolessiumielíe poitant le nom riu -Thěátre de marionnettes du profusseur Skupa de Pl7eň>). 11 en est tout autrement du rapporl du Skupa avec les marionnettes qu'il dessine lui-méme ul qu 11 parachéve rnninurs rnmme auteur et aeteur méme si elles oni été créées par un autre dessinateur. íLa mariun-iieite de Speibl fut riessinée et srulptée par Karel Nosek On 1020 Sin ans plus tard. le sculpteur sur bois Custav Nůsek créa la figuríně ri-Hiii-vinekl
La ruvue. geuru lri>s un vogue a celte époque. irnnva un milieu propíce dmis le théátre de Skupa Ce n'est pas nn hasard si le díruclour de produetton du Théá-re de Voskovec ut Werich núgOCia la collahoration permanente de Skupa cl de su truupu en représentatmns rěguliěres au Osvoboícué divadlo <Th63l re libéré) de I'rague. Bien quc tulit uu sc soíl lamais réal^é. Taffi-nité des poéiiqucs des duux théálrus CSl évidente -qu'il sagisse du genre ou dc la prédoiuiiience des deux rnuples de protagonisles.
.14
Une »n«mŕ pareiiiv l*M M poetisme (hcátral tcíteoue peut Hn rernartsjée merne . .-. r* qui roncc-rne K* mafia <iv Spejbl - son habil bourgeois ac.com paKiic dc sabots ru»dquM. iD'ailleur*. limérét qu'il portáli uu costume daa manonnettes íuiii um des caracteristiquc* do Skupa pur oxemple. dan* lu ptttM de Pom .Soví limu' '/ľ C'ňé.'eoií d«a Mbonal. une do* premiére* realisation* do Skupa au théitre Fen.tlnkii osud itwiTI. la nguriiit; <lv Kuaparrk ((Julffnoli portail delá un nabil. Grice á la conception de Skupa, c porvjonav*-' p.*>'*r* du r"r-eálrv tcrlair.lfh osa.: s'eat meiamcípoosč • non aenilemcm de par non costume. oariGattm de 1 habit ministerial mal* de par &a concantioo satinquc- dani sun entler - POUT dovonir la preťlpiraiion des Aiiurs protagonisté* du Theatre de Skupn A c* sutet. II fonviont de ruppeler !a íi-gncme du Kukuŕlrnak Dulu le premier lypc de marinnneue coocu pur Skupa dans les annees I9i?-I9ta. La Agiinne d un bonhomme portám une mousli he »: unesurtc de lenue militairc rancaturail 1 unite d'agen is auiiiiaires de la v lie de ■ň cbarges de mainienir I urdre dans les queues dexatit lea boulangeries nit Its gens venaien: rhcrchcr lour ration de pain nmr ponilanl la guerre le ptnoOnaVB do KukuŕíCňäk est comiquo el important, celin de Spejbl mŕ-couleiu ei raleur, mať, lc lien les unissnni est incontestable. Les deformation* ties visages des.....n n. i ..-
de Skupa souiignaieni lour curactére ranraturul cl grotesque, renforcé encore p»ir la voix com rance quil pfvtttil á ses manonnellc* la basse profnndv dc Spejbl
et k? faussct -mr- (THurvťnek Or. ce n était pas la premiere fots que Skupa urikSart ce pnniipc: il faráři dé)a appliquč dam linlcrpréiarirm du double* role Ce rlýbrcnul-Johanes tbasseí el du petit tailleur Ce merku Ifausset). Co (ul sa premiére realisation au iheúlru ťeriálnírh osad <l>17) dans une mlse en scéne de Pan JuhaneH HtoUaW Johanvsi ď Alois Jirásek. Pour trouver ('inspiration du caruclěre
d u ctwn couplř ď.icicun en bou • Sp*]bl ei Hunliieit.
on ucurrait remonter aua rôl*!* de Kašpárek iGuiuno!'. de Skrňola ou de KukuhtÄák que Slnrpa avail ervvs sur ecttv acena. rnles, qui kú avaíviv panrns, pria; ú son don de limpmvuancn el son lalvnt burlesque, de gagni-r .a íuveur du public de Pkeň blan avani la naissance do re* deux marinniioiles. dovanUH pnpulaires par lu aulta. Dus photographies des uripnniit de Spelbl el Hurvínek munirwnt ces manc-unclles plus dé/ormec* plus carlra-lura'e* que ne |a sottl les rr.rn-.es manonr.e'.les u'.lllsa-aa ptas tard. rrK>dif»ccs el ailin-    par plufieurs artiste* (Jiří Imka parmí d aulres*.cumbier. inn šest <-Cbrcé de souhsne-laor type .-.■ .mni
Pius lord OH u ujouté au couple Spejbl -Hurvínek ďaulrc-s figures Máiiíěka. copine dWurvínek. el un autre nervou nago typiquu. celuí de Matluiiiv Drbálková. r.onciernu bavarde métamorphoseo. uu bout dun certain temp*, en laotu Catherine, parenie de Mánička et penduiu 'ěmiinn naturel de Spejbl on r.ouWia pas StaVJ&vle CoBSa d Hurvínek, membre itnporliint de la -*rarnille feuiUvwa-. Ma|(PÍ tou* ces change menu e*. jrice a leur Canute re canealuml m a une ce nanic Uel'orrnat ion amstiquc a leur mobUile ei leur aptitude á leprésenter les snuaiions dra-matlques los plus vanée? ce» pentonnages sont dewuus de vmis types dnnt la pupulurilé a survecu a luurs inlerprútas fJnsef Skupa ainsl que son suecusseur Miloi KlrMfhnřrl
Skupa fut un arlblc multiple.    • ■ »c     jaje nnn litter' — pruíocděment théitral lu symbiose de ľauteur. do 1 urustc. du metteur en scene, du těch n ; . ■ et de linierprčtc devait prndu rno un eflat homngéne. 1* principe uiiificuieur du theatre dc* Skupa emit dans le rarncioro curicatural des dlffercntcs figures qui se démarquaietu nettemeni de ľexOculion des manou* nettesde lu periodě précédenic neutřes du point de vuo i ■ ■ et curactérisées. pisojuc lá- pur un costume Ins torque     ľ. national
Fnfant de son temps. Skupa oseillait entre les pnncipes impressionr-istes de la scene denudée ponr un icu plus li'yiv de la marionneite ct les tendances expresvionrwstos du caractare accentué de lu marinnnette en Unit que lypc dramatique. Grúce á *** qualités d'uuleur ut ďintorpréta. Skupa reussit á Murmnmer la discordance de caa dam tendances do mame quii sul puríaitomant balancer la traditiou populaire de I a-t <le la mariunnerre et ion acroaV :..    adéquai* dans le cuulea'.v 1- la rcaiie et de ľan de sun temps
L'effet de cos deux tendance*, de Skupu lui valu: le succés aupres des spertateurs. suceos qui devai: ahnntir á la creation de sa propre scene professionelle an iilO II est incoiilesluble. aujmird'lHil. que la lundatlnn de ce ill- ■■ ■ . ii ...i :n-l da Skupa Tul dune imporisnco pnmordla'e pour la constitution du futur réseaii profes -•■■ul de theatres régionaua de marionnettes duns notre pa>s
B8
PUPPETMAKER
Marionnettiste
Reflections on discussions with Jin Trnka / Reminiscences d'entreliens ovec Jin Trnka
J. A. Novotný
Sclfponnii: ut [Iři "Trnka
..ouppsts are my fate!"
w
ho has not. at least at some time or other, fallen victim to the magic of rhe puppet?
for many they were no more than a mere plaything, a pastime which left behind it only a nostalgic memory, for others the puppet became a bridge whereby they could return to their youth, to the revival of a long-ago pleasure: that is the case with nil those dihgem amateurs who
make puppet theatre. However, there are still others for whom the meeting with the puppet was a deciding moment of their life. At the same time they discovered a kind of magic spark which summons up the power to animate dead matter. These are gripped once and for all: for them the puppet ceases lo be u mere thing of wood and material, wire and string:, is nol even art imitation of llie living actor. Ir stimulates them, provokes them tn thought about the essence and effect of the animated figures, lures them into its territory...
fjfi
That vca* bow it vraa from the beginning wilb Jiii lmka Puppets were iur him a r»t»lannn. the inumale tompan-tons of lib boyhood drawn*. Ha behaved io> ards them Willi a committed **nou«ne»s and never and this li characteristic impound hi* own will on ihwa No sooner than  gillcd with an exceptional devlerily and artislic sensibility - he was able to dn someiliing fur himself, than he slatted to manufacture his own bule puppets and sewn-My, for at the same Mm* the draughtsman was developing in him. and ha served the duinestie model theatre with all his varied gifts Rul 1 am running ahead of myself: after his initiation Trnka liad lu go through a period of grounding ■ healthy ,ind apparently very important lor as a schoolboy, [irl Trnka met Professor Josef Skupa
"Skupa opened wide me gate of an for mo"
The wise professor el drawing immediately cau/Jil wind of snrnethinjr here "iu an unusually gifted . •■i > > -. stu dent, dearly gropuis around, mtmickmg. but with some thing m hiiu already slruggiing to get out. and passionate about puppets. Onu day .lift Trnka oossed Ihc threshold of the amateur thwatre Divadlo Fenalnfcli usad ('summer camp Iheulre'l In I'llwm aind found himself in Ihu atmosphere of a real theatre. It was hero thai he lourni tlial the puppet scarcely kn nws boundaries, that it is able to suggest to the audience, whatever the one who is controlling it wishes That was demonstrated on the on* hand by the old principal Karel Nuvák with his old-fashioned honest play-acting, which with its rolling !:...::■- and dramatic floiinVies covered the range from dramatic encounter to wagmsh *it and en the other by Josef Skupa, moving towards a new and invent. ■ pohshed relevance. sensaTvtty. metaphontal Jurcsborteiring. visual games ir.d wnrd play f.ra«- and rougrJiess. sorrow anrt merriment, everything could alternate on stage, interpenetrate, he piled one on the other.. The recognition that "every kind of human feeling, emotion and human passion can be expressed through puppets" was the greatest benefit gained by Ihc young lmka during thai time. He saw how circumspect Skupa was in divesting himself of the strait iuckcl of tradition, preserving only thar which was primáty und permanent. He saw how in this way the puppet becunse ever more dynamic and challenging Ami lie wuuld not have been himself if he had not wanted to luui In actively, to design the scenery and the puppets, to react Indcpendentty to the impulses of his master and model frnka made the figures entirely himself, from lbe first sketches ro their realisation in material form. in my opinion had a decisive eDcct
on his film poeliesL II increased the innmaic symbiosis with the puppet, refined lh» inventiveness o/auiinulion -and this uiUimited confidence ensured thai Traku would
O Jiii Fmkii, Alhlvir. <le»lgn lor j vaisety slkiw |>ii|>|*i ioi the llbien piipjwi ilitMirv ot [osef Skupa, ťnvjtt oottaoann
>jaí Trnka íj"i*i.|»» ■ k->^;n tot j puppet fimi a *«, ■ il of dn.       Knb-t   ibr i \by J. Kuiwimn llirjin-JJivadki KrahAi, IMs . Pd*ca'l9*5 filiate oifkvixin
ůjiri Trnkj. GotljatlMT. design for :i puppet for ihe ptoducuoo BartAnt  Jícr lbe book by Jan Karatiát. ť [iň Trnka, Zitffe' Pwafc puppet lor tlíc production ol Bccifcs VSxHlcn Pip;nrv. Prágue 1936 ' Přivalí tolled ion ťhi/ji,\ 1 'i&'jtir KrtmlwHtT
always have exactly those actors anri types ihai he needed. His independence of others hrotiirlit an essential advantage Wtth it: it enabled him to carry outfits own ideas as completely as he could imaxme. This was confirmed at the two puppet exhibitions in Prague (1929 and 19311. where Trnka showed his originál literary puppets fur the Dral lime: Don Quisiole. Sanclto Paoza, Macbeth. Hamlet. Mcrculio. Faust. Ilio contucls between ihe Leather and pupil woro not iniemipied even when irnka loll for the School of Applied Arls in Prague, lie oonllnued lo make puppets lo order for Ihe repertoire of Skupa s Ibcalre le^u. pictures showing Spejbl and ilurvbiek lone of ihein remained for a lony lime Ihe emblem of Ihe
5*.|iri TmlM. 1/r li'isi/ii'h. fnjeti :i pi>vlinii<iri of die plav ■Mr lUisinih. iIm' f     imti !>n' Kiiitun (iy Jtisiíf Yleri/H
W«xli*ii Tliealtn, Knižní* Í9SJ    Privuli" <i>llnli<in I'iniln i 'iitiir Knnifirif/pr
•3 Jih" Trnka, design lor a scene from Goldonľs li"', National Tlir;iire. Pragup 1941
Theatre of S*W Nevertheless, wtúlc he was studying, puppet theatre hud to lake -a back seat: Trnko - as was always the case did nut allow any part of his work to be neglected. Wiih clar. and proverbial diligence he wholeheartedly threw hi m seit Into painting and printmaking. and in spite of his youth soon became a personality worthy ol* attention
"I loved reodirig and Growing from Ihe limo ! was o boy I*
Rooks were the third support Cor Trnka, The power ol Ihv épic m stories and fairytales. Ihe splendour of his mulher IOciRuO in poetry. Ihv weight of ideas and evidence in encyclopedias. Ihe excitement of the druma ■ all Ibis enriched and sliittulated him. Trnka s inspiration was thor-
A Jiří Trnku, ili*Mgn> fí JC ixiitliinira fíir Slnlii*s[ir.'iTr's KiiitKrs Tul-\ National Tliealit-, fia^iii: 1V>Í1
59
■3VJin Trnka, puppets (torr. ihc lilm Old Cstxb legBtub, 1052 i Private collection Pf'olw Viktor Kiv/nbaiier
oufthiy bookish lurid 1 <un nol speaking uboul Uiustryi i He himself said that his uriyiim I. embryonic interest in A Siiiisumnwr Night's üreaiti cuibc very early on. As it student he was leafing th rough Puppet Plays from Shakespeare, which were abridged versions of a tew of the pluys for what were known as 'Ales's puppets". He found coloured pictures which enchanted him. From these
he realised that even famous classical heroes can go on the stage. As a result his figures from Cervantes. Maeterlinck. Zeyer. Swift. Carroll. Kanfi.it and others appeared in the exhibitions. K:s films too were made on iho basis of literary models Andersen. Hašek. Jirásek Chek hov. Němcová And Ruka (77«? Httrutl? Even thai is a free variant on Durante s French plays for hand-puppets. At the end of his studies Trnka began to pursue the vi sion n; his own stage. "We warn . to have a permanent puppet theatre fn Prague" he wrote in one of lus letters. Overflowing with energy, convinced he could do it through his own resolve, he took advantage of the silua
ľuppots trom the iilm .-1 Mnlsn»»'ier Vly/uWMwiíi. 105,7 / Privalí* <i>llmiini
Hon and. surround en by a handful of faithful friends, energetically began to establish a stage in the Rokoko hall where, under nobody's sharinw. beholden to no one. he could demonstrate his distinctive creative intentions. He had la front of htm an attractive model: .losef Skupa. who put aside the security of a professorship and launched lu'inself un the risky career of the manager of a puppet show.
Trnko's Wooden Theatre
.lift' Trnka's new theatre opened on 13th September 183G. He premiered fnur production!: in & .season which lusted just under a year. Audiences ivere immedlatsly caplivaled hy the beauty of the performances. Troka invested in -what else? - the spectamlar. the poetry of colours, lights and shapes. In this he was already an uncontested mas ;er. He bad the feeling that painted scenery and the gracefulness of the figure, joined with careful animation, would keep "lie audience in a state nf continuous exaltation. Everywhere, in scene after scene, could be seen eliaractenstic moments of Trnkas lyricism. Ilr. the future Ihis would be praised and eulogised as the characteristic
note of Trnku s films.) Despite thus, uudionuo interest bo gan to slacken. The performance. Ihuugh intended "only" lor children, lacked a dramatic quality iru::i Iho boilies of the puppets issued only anaemic chattering: no alien Hon had been paid to theatrical language, as essential lo the animation of the figure as movement. Trnku hud not realised that visual artistry without the supporl of a worthwhile text cannot stand on its own in the theatre. The end of his enterprise was in sight.
Jf Traku hud met with a pool of CQual genius, then our culture might have beun enriched by a new distinctive form of puppet theatre uvm die world of myths and legends, with joyful, sunny and heroic features - exactly the qualities he brought lo his book illustrations over the next ten years, especially Iho popular Czech books for children -lítmčci IflWffaifl by Jan Karafiát, stories about the bear Win Kolíčku by Josef Mentcl. JCorovona by Wilhclm HaUff, Češke pvkúdky ICzeth Fairy Jbirs), Grimm's Fairy /ties. Kormidetnik raovSagf tlk/tmsman WrWWW) "»d
many more, including Charles Ferraull's Tales ofL&nK Ago. These qualities were found loo in his work as a
61
stage designer in the 1940s willi Jiff FtCika a) the National Theatre - Culduni s IfoHtfJQfl MMOtteratfA Shakespeare's T/w IVinííTS 'idle, Pluutus's Přťi/doJvs. Hebhel's Gygea und sein Ring. Josef Kujelán Tyl's .Sirofeomoftý éhnfdUt !Thď Sfrttfconfca    j'cyjerl During [his time he stopped working with puppo(s. bul this did not mean rhat he hsd abandoned them India's. puppets showed up everywhere (experts can even find them hidden in his illustration si. he brooded about Ihetm recapitulated his experiences, both stimulating and bilicr: luokcd for the reasons for his failure: and sought for that which mtS
ÍS2
still owing to the puppet. Ho knew lítat Ihey were nol and would not he a variation on the live thoulre. itol even its supplement. And ai the same time they would not he ;usr. a means of preparation for children before they attended the big theatre. 'Irnka felt that movement and voice transposed into material were the basis Of one of the human forms of energy. That puppets are autonomous, exclusive, impossible to replace. He waited for the right moment to summon him to his new work. This came when Jiří Trnka entered the studio of animated iilni In the course of several short films he verified it in work with the camera, montage and other technical aspects
"Film is a morvel ot technology... certainly. But it hes token a long rime to confront the possibilities of the puppet!"
Why did he turn lo film, why did he harness it in the service of his figures? In uiy Opinion, he intended to rehabilitate himself as a puppeteer Everything that went wrong for him in his Wooden Theairc at the Rokoko. everything that constrained him &icludLiut his youthful inexperience) he nnw had the opportunity to put right and overcome.
:.. m seem to Trnka. until he got used :n it. to be almost prodigally wealth} <uk1 all powerful.
Naturally. Tniku nUdp'.vd film >n his own piat is lie * anted to give the puppvts what was theirs, to reveal what was hidden in thorn, as though he was trying to in.iko up to rhem for wbM he hud been, unable to do during hi* detail. However he did not allow film to outstrip the puppet with MS sparkLLiuj Iricks. its gap:, in non-players, did not even experiment with tllmir sleight of hand He pm 'he puppet pivevdwnce even over film convention, delibera-lely ■.-■■.! . ;tiinst film editing, rhythm and pictorial COmpowliun In order to sun the puppet I he difference between him and vhers who have similarly co-remed
themselves with puppet films is noticeable In Trnka there u * respect towards ir.c created actor*, a stubborn and shvere respect 11c perform s service holding in regard the nature and mystery of the art of the puppet; he make* nn atiumpl to be over-clever, in sper ulato. to create little mannequins, to try to shock
Trnka passionately believed in the animation (uuttiu: soul) nf puppets, tuid stnigglefi ntt tn cfluso dbuppolnl ment • not wily lu hb audiences, but also lu lib amenable actor?
Only one who relied so completely on the puppet who "CiKbcd il »o thoujhrfully and 'namcswd il Into hi* plans »ilh such BMU could have the courage lor Spoiicefc.
•^JPuck. a pupprl fiimi die film .1 Muhiimoii'i Vjg*/s DfMm, 1V5"> PihM <oE«uon Ft**, mMM
<l*u|i|irt* (mm the fim A Ifu/uiP.- . SiftX's Itmtm. I95T IVlNak nilk-t ■<•■ i aixhttrs
63
ů NtirionnHii* du film 1'ArtÍHittip itiihiicl el Hn-iitme lOte. 106-1 / CUAfirlhim ■!■ ■ Miisi:l: iwlnnml de 1'r.lguc
Vli- Tun. maifc i"i ni it; du fitin l'iic aniiěe Klvque
orsing will) iiit-)iliiu>alc oo the horriers ofdeath in Ci&aruv slavik tthe EmpcWti h'i^htmgalo). nr march inlo bnltlc wilh Coslinir in Start pOWfoti festet? iOid Czsch Legentls) er wunder inio ihe realm of Oheron. In this was Jifi Irnkas Iriiunph througl» film he madfl the puppet absolute' TlirouKh Tili» ho aclueved recogniiion tbr Ihe puppet, led Iho uudience to fne refreshing spring of im-aginatiori. csUiblishod an oulstanding place in the history of worid rinemulograpliy. Dul lus acclaim as ftShn maker does not chans« üUr opiiuon ihat Jifr' Trnka will always stand as a painler and puppeleer, who amongst bis nrher work made     : . ms for Ihe ■screen
Qui n'a jamais Sviccombé au chatrné de la mafionnette?
Beuueuupay voient qu'un .simple jotier.Jouer ďeníxn-ce. dillracUOA passagčre. Qui laisse nn souvenir nostalgique. D'auircs. pom qui elle est une passerelle vers leur jeunesse. peuveul ruvivre tul plaiSir reíoule. t> sont touš ces amateurs passioiuiés qui RUtt <lu theatre de marinnneties. Mais il y a aussi eeu.\ pour qui la rencontre avec la mar.onnette marque un moment dcCislf do leur vie. Soudain. ils décuuvrer.l une sorto ďélincelloment magique suscité par la pussibiliié ďanimer un material) mnrt. lis resleront marquees puur vie Pour ceux-1a- la marinnnette cesse d'etre un simple objel de hois.de Hsso de tringles e: de f.ls. sans devenir toulefois uno simple imitationde larteun elle excite ameue i la reflexion Sur 1'essenre et I'etVet des figurines animéos. elle atlire itrési stih lemem dans son univers ...
Jiří Trnka fut de oemc. pour qui les maríonnetles sunl une revelation. F.lles sont pour iui des amis inhrr.es de ses réves ď adolescent. 11 les véněre re.speclueuseme.nl el fail siguificaiiT- ne les traite |amais avec superioritě. Doué ďiuio hobilelě excepuonnelle et dun grand sens arlistique. il commence. třes teune. a confeclnnner de minuscules marioiuieites avec leurs děrnrs. Ola rěvéle sont talent de dessinateurqu'il met au service du petit thóálre familial Les marionnettes ne laissent plus jamais 'trnka sorlir de leur cercle magique Mais n'allons pas Irop vile Aprils celte initiation. Trnka va passer par lótapc de la formation qui lm seva beněfique. er. au iyrée. il fera une renconlre cssenlielle, celle du protesseur Skupa.
Skupo m'a ouvert grande la porte de I*art
Ce hrillant proíesseur de dessln llaire un talent 11 a affaire á un ětudiant qui tátonne. naturullemenl. imile. lout en essay.int de travatller á sa maniére. el qui est passioiuié pnur les marionnettes. Ln jour. Jiří Trnku franciut done le pas dn theatre ďamateurK -Divadlo lcriáJnkh osad-tThěatre de colonies de vactanCaal pour sc rclrouvor dan*; 1'atmosphere dun vrai theatre, lei. il va découvrir que les competences de la marionnette sont pix'squ'illimituos. quelle Sail .sugfiérer au speetsteur n'importe quoi. au gré de celui qui la manipule. Iln de ceux qui le démunlro par son an de comedieti honnete mats un peu désuel. on urassant par sa diction tonnante et ses grands gesles. loute une Ramme ďevpressions allant de 1'aH'raniement dramalique á la plaisaiitene> aigiie. cest Karel Novák, patron de la troupe Joseí Skupa. lni. tend plus vers une
0-1
> lift Trnka ti Htefcbv Popr au cour* du Iiauil mu U- lihii Svit/s-tttiw null iií-ii: 1957
V Ant nut u mi tlľ In iiurio-nnctcc de IdAkbb du Siiii/ft-iľmie mm delt. ii'"
S> I> M,irinnne1ie du tJiii /Mrcfajiw fkítmU iV Miuluwe Ixma \%i íÄillections du .Mu-& iuiiuiuI it PLiguc
fatoa Duuwlhi ei rárélatnee. vors une bwulatW firm ver*. ľému*iun. I« nceaam méuplwriquv. vara une Millie risuebe «t verbale Tendntwc el rudesse. trimew et Kvtŕ-. loui tela peut »e «urceder sur Id scene, se méler. «entawr. La revelation nue .les marionuielles savent e*pnmer tous les sentiment* humalns. luulcs Jes impr#"inn*.touies les passiona» r onMiiue la plus grande děcouverte nun le ieune Trnka va taire a celtu ópoque. II volt Skupa M déburmsser prudemmont de lu tarapace de la tradition el ne garder nue ľŕMeniiel el l inunuable. II vnu aloro la marinnnette devonu- de plus en plus dynaminiu*, de plus en plti* exifleante El te ne serait pas Trnka *'d n avail pas voulu y pariKipvr uctivetsent. dessiner des I con des manonneitov rťagir á sa maniere aui lugKOHoos
6b
rie vin mail re cl mottelu. De 1 esquisse á la realisation rr.atěr.eDc Trnku crvc su * propres ňgunn**, co gul. i tnva avis, determine íondarni>nialemem *a poětiquc iséiav rie c méaslC; tola roniorvo sa symbiose avec. la marwiaicttv. affine VhiuKinullun du lunimateur Grace a tuliu souve-rainete aljsolue Trnka aura toujour* lei acteurs cl len types procit doni II auru besoin. Čerte mdépenduiite Oflro I avaiiUuuí itun néiiligeahle de nerrneutv aI awlcur de realiser plclnumwnt ne* profcMs. Cela se tunflrmera lors de deux exposition* de manonnetles lenucs U Prague 11929 ul 1931 tou trnitá p>re*entera pourk premiére fot.*, so uriginaui; de manonnetre* mspiréodcs sujcis litte-rafRK Dor. (Jukrnotre. SnnchoPanca Macbeth. Hamle'. Mcrtulio. taunt. Apr** le depart dc Trnka pour Prague ou il continuera *•* etude* a ITcoJe des Arts decorat;í< les contacts entre i* prntMseur c* 1 clove ne sercm p*« rumpus Trnka eree. aui besoins du re per-
tuire du theatre de Skupa, de DaWOBca marior-nette*. rte nouvvlJes Image* rte Spěno) et d Hurvínek Hune ďelle* deviendra pnur longtemps 1 cmblčinc du Theatre S-HV Néanmoin* pendant ws eludes. Je theatre de marten-nettes pssse au second pluti Trnka cest sa cararténsiique • ne hárle jamais rlon Avuc 1'élan et I application qui lul soni propre*. Trnka * antique .. la pcinture. á 1'art gmnhtquo e*. malgré son ieune .íku devient bientót un personnago remarqnahle
Děs ma petite eníancc. j'aimcis dsssiner el liře
Lan de Trnka a encore un autre point ďappui - les li»ro la force epiQuc do récils ou des comes rie fee*., la beaulé de la laniruc mulcrncUe un verv le počds de la pensec cl du document nou Octli, luswcjcn ěmananc riu riramc toul rela I'ennchll«1 úpeauuii. Dans inure son ořuvrc. el pa> settlement dan> UM ..lustrations et les peiniuro. Trnka síiispirc es>enlicllumtmt de :a httěraturf II a lui mému conlTiiiié que sun Inrértt premier pour le Suig* dun* nail d Vlč élall nú longtemp* avant le lilm. Eludianl. II feuUleluil le roCUaU Loutkové hry té. Sliukesuvura třtéom de rnariunnvltv.1 d apnM ShoaMsjMOnO coniprunain des versions raccourciH de pkatamm pier.es adapiccs pour les murion-jiclles dltes -d'Ales*. tes Illustrations en toulcurs qu II lnová duns ce llvre le rtharmérenl Grace a wlles. il se rend cumpte que la petite scene pcul ucucUJir égalemení Jes grands héro* rte la liireraiure classique Doú ses per-sonnacea 0> Cervume*. Maeterlinck. Zeyer. Svrift. Carroll. Karaaat «e_ pre«entee< lors des cxpceďTieasmenConiée*. les films toumes par Trnka Sinspirent. eua-ausst ďn»uv-res littéraire* Andersen. Hašek. Jirásek. Tehělchov. Nemcovsi. le nim Ruvu Oa Main' est uuss: une variation libře d une piece francaisc pour marionnette* A cant de la plnme de Duiuiili
A la fin de sc> eludes. Irnku est obsédě par lioee de crour *a proprO stene *r*uun vuulons taire..dn iheAtre de ma nonnettoí permaneni ú Prague-, écrit-il dans une lella' Plein ďenergie ul persuade qu'il saura accomylir m desseuis il pivfilc du oircotuvtances távnrables ei conunence á coMtrulrc, avec une poignée ďamis fideles. dans lu salle du tliéútie Hukuko. une scéně oti il peut réaliser »u» projeli drlikliquvk nann avoir S rravailleri 1'otnbre de qvclqu un d aulru. »ar.« eira mhutaire de ctucunuuv. 11 a un modele tvntanv Skupa nu) a abandoaié un pote >úr de prnEBaaaar pour mquer une camerc mcerlainu de •patron d un theatre rie r»aniin*..
66
Le méátre en bcis de irnka
a eté inaugurč le !3 septem ore iíkwi Au oouci d une ssi-son qui a dure u peine dix mol*, il a monie qualrc pieces. De-* la premiére representation, le* *pe<tbiouivhircnl
■ ■'i".,        par la beauté plastiquo do lb scene. Trnka o nice rieii ďélonnant che? lui • sur íeflel visuei. sur la puoie dc touleurs. de kimiěre* et du funii^ Duns cu duitiame. il était dějá un maitrc ineonleslablu 11 crnyait que lu beauté du decor. Li «rA<e de* figuriOM et une animation měticuleuse sauraietft maiulenir le spectateur Uans un éblouissement permaiK'iil Hartout. cans inures let scenes, le lyrisme rie T-nku 1 eiuportail (Plus tard. re lyrisme sera appréoé. glorifte CCCBBM un irail cararté-Řitique de *** films: \ta'w é iv.o I uilvrvt Cu puhttc laiWissaii. Les spenafies bicn quv itestme* •seulement-au public enfantm. ětateni ik-pjuivu* Cv caracrére rtrama-Ucjue. kat manonnenes ftaot cJairgéo rte bavarCage nretií Lv lond nětait pas a la liautcur de Ja forme: la parole thěáirale qui. pour lanimaijonUe lu llgunn*. est equiva-lente aux motívemenit. na pa* bwnúllci* de 1'attention nícessaire. Ttiika ne s'usl piw rendu compie nuau théálio la beauei plastique seule. ■ n    Ih Kuppnn dim bon 10X10, ne peur pas r-íussir L'echcc d« non entrepnse était ineviuhle
Si Trnka avail rencontre un poete qui lui fúl égal. notre culture uiuait aus'enorgueiJhr dim ihéAtre tle inarion-notlo yur. sinspirant des mn^e* de féVs el des légencťs. te theatre de mariannette* aureit pu sonrKhir de tons ffíi* radKux ou hěroicue*. rie tout avec quui le peintre au COuro de la děcennie «u*.vanie a bnllc čumme Ulustra-ICur dc iivrcs pour enfant* en part duller Drouce; lies f*áCie-«de Jan Karafiát. 1 rnsiotre dc Josef Mcnzcl Uiáa ríuiitva 'A'ounourt !c £ xiir • la Curuvane du Wiltielm lUiuff. i** Coniesde ftes tdheOaNW OMaM des frervs Grimm Muiiermst Ready de Frederick Mariyut. le* Conceit de prie me/w (fye de Charles Po i raidl el beaucoup d autres Lu théarre de marionneilcs atuuil pu proňtar de tom ce quu Trnka a créé. dans lo dpmainu du theatre trhéqne dus années tn. en rant que s*eénogtaphw de .liři Frejka. moiteur en scene du theatre Nalional do Prague lie Menteur de Goldom. le Come ďm\\r de Sluikospeare. Pteuňníe rie Plaute.I'AnniouoVGyticsdlk'bbel. Strakonicftýduááe -le leueur de corr.em.u$c de SUOkutk* d« f>'l. etcl. A cette ép<^ue. Trnka       !- avyxlchč du»oceuperdemanon-rwrtaa. aarts que cela teuiUc dire qu'll km a abanrtonnees La marnnnene TaccompaEiw parlour ilea apeoahstes ne manquent pas do la trouver da*;mulee riar.* *e* illustra tionO. il f nlÉňrhi. analyse l«/xp*n#nreencoura^eaiite ei amere qu'd a failc. there he le* ntaOM rie son echec.
.'"Hi ill i quelle est sa dwte enver* le* manonnettes II sail bicn uu'cUc* n ont jamai* ete et qu elles no seronl jamais one réplique du theatre d'actem* ei eiKoru moins •on appeudkc: pus plus quelle* ne «eront des iulermé-diairos d tuie piéparation au grand an Trnka sum que le mouvomonl et la voix transpose* dan* In niaiiére soul le
■ . ; i  11 r t d un des exploits de l'homme quo lo inarion-nottes sunt aulonumes. exrlusive*. irremplatubles II attend lu tnoment tavorable pour le* rappeler ú Lceuvre. Celui ti se présente lorsque Uři Trnka ontre uux uieliers du    '.in.; danimation. qui A Innginc. ■» uccupuient de dosui uiume. CJuelques rourt.* meir,iKO lui permeltent ďuppcéhender le travail de la camera le montage et
I u_'.ies procédés terhntques
Le onorTX) esr une mervoilc de la technique . sans aucun doule. Mais I lui taudrcj Peaucoup de temps pcur egaler le5 competences de la marlonnette!
I'ourquolu I il ucnch*-pour Ieanottw. pourquoil's-t-ilmis su nrrtoo da md figurines? .J* crciu quil LvamU a sa re-hshil»t>r en lunl que manonnei'tWe. A PBUO QCCldon, H a M u chance da ruuarcr « meme da sunswnler loul r#
H K* debuts. Mas il Bg pcemot P»« * 1 sr. anenulev.i < plikpie de Temporer »ur la nunonnerte par un truta/e cblouissam. par le gaji. i] da loue pas seulemenl pour louor il n'admet aucune lunjdene rmematoi;rapliU|ue. II protege mpme la munotuiollu contre les conventions cI Ics lots cmemaiugruphiques il manque sdeminciU aux ivkJos d" montage, du rytlutk- dB la composition dil i ImuW lion que pour lui r**tsr confu:::;v H COmient de ivniuiquer on qm AMmch Tmka duutivs Ca*eestM H'MnimiiIiu:i pour Tmka. ce travail mpuflc k* rvspecJ des petit* acteur*
V>W.'Ail». 1W
qui lu tffinait. I>mpechait duns ion Theatre en hois uu llokuko (>■ rompris inexperience de lOunesse). Avanl da s y iMinlliamer. Tmka troUVU le cinema prndigue. tout pubsutil
Neanmuiia. Tnika acapte le rinem* a Id* pi"0r«15- tl Veil! dooner aux muiionnejies r» qui Icur revival, il en enrali tout c# quelle* dis-simulem eammw 111 vou ■   1» de-dommap-rdolou1.cecu il     panpuount passufair*
mecatiiques. un rapport tmcare at obstiti6 un service, de* egards puur la nature el le myslorc do Van de la marionneltc Pas i   ■ ■   - - pas de speculation. pss d imitation miitialurisee de I'hum sin. pas du true* •bjiinssants-
Tmka rrnit profucUemvnl a ranrmarior. tanima imel de la marior.nette el crainl de derevoir nor. seuleinciit les homme*. mais peul Cue auMi ses aaeurs malleable* Soul r.ehn qui s abiutdomic ontierement aa\ mutlgtutclics lo* ioupese. les examine Rvftflt de les attar her u KM pro |0U petit oser tnurncr un Dlni comme Spolieefc (VfH an nix (cheque), peui chanlci uvue le rossipiol aux coidlm do la niort (Clsuruv daw* It Hosstfnnl tie i tfmpuvu'' paitir a la guerre aver C'vUmir (Staff pawM dajM In I xiw* MfMlia ichMaeai tai > e^rer au rmaiane d'Oberun <Ia Swue rfane r.uti d'4Ul Vuiltt tv qui nt le mmphv dc Irnku Knke an nnema. il a cnuuxipc- la manonn*tt». Par lv biais du cmema. if lut a auurv le respect. il a ann-n« le spvUuieur au^ *oiirres d'unc iiiwginanon fralche. Irnk* tletil une place exceptionnellu dans I'histoire de la clnw mulo^rapnic mnndisle. MhIs trutlgiv sun ronmn de rlnt»a»lo. rlen ne refutora noire convlclion que Jiff Tnika sera toutours apprcoe sunout rumme un i>eimi'e-marlon-
nettis'.e qui erea au**i ei entre autre, pour l'Acmn.
67
Jindra Patková
Adiill KJ.ipJi. Kňfpareli uflbe Kupecky ťamilr. VJtia mimu. uiotmd l^CO
Tlíc ihcaire department of the National Museum Ui PniKwC organised the exhibition Czech Punpeís toi lho Fondalíon Neumann gallery iu GUigíiigs íi: Switzerland li was i;....; lu celebrate ninety years since 1 li .■ birth uf Dr Erik Kolár, Czech puppet theorist, dírectur and professor al the Academy of Dramatic Arts in Prague who diod among friends in Cingings twenty years ugu. The exhibition, which ran iřum September lust
OH
your tu January 1097. was extremely well received by buth the Swiss press and public The Nationul Museum decided to present the collection, unchanged, to Prague visitors who have not had the chance to see puppets from Ihe theatre department collections on such s large scale tor over live years: this unique puppet collection is not on show permanently and the public only has the opportunity to see it during exhibitions.
ľne introductory part of the Czech Pupa*:* exhibition brief!) acquaint* the public *ith basic :An< about the history oi Czech puppet theatre and it* distinguished representatives. Here the « jsilur oil! see the ftrsi Czech depictions o* :h* puppet. old erjonv-inp with characters treated by travelling puppeteers who carried their entire theatre in | box on their backs, and historical posters from puppnt performances.
The aim of Ihe exhibition ofthe puppets themselves is to show as comprehensively as possible a collection whose first exhibits were dequired by the      ■   ..i Museum hack in 1927 Until 1«-»» the collection was built up more or less randomly: after that date it became part of the theatre department of the National Museum which began to add .it ll syvamarirauy. Today n contains around tnoo puppets a::d many ether collector's item*' complete Imle puppet theatres and individual set dkxorafiona. props. Curtulint. puppet barrel-organs old puppet posters and poster stencils.
Tftc lurgcsl pan of the exhibition ate the puppets and puppet theatres created by folk puppet artist* Those include Ihe puppets of Arnošlka Kopeck* the oldest collection, roughly from the mid-twh century others generally date from ihe kile J9th century or early 30th ten tury. Apart from Kopetkds curtain and puppets ushers wiii see puppet< crafted by *.rood-carvers from southern Bohemia and puppets from the Krkonote mountain region and artefact* u»nod by other veli-known travel ling puppeteer famíliou nhe> performed in this country through the generations up until relatively recently. Along with the mariouelles which were used lo perforin evening 'comedies' the exhibition also features the so-called "variety" puppets* which puppeieors would bring nut for special slum's s: rhp end of (he main perform a rice
Famil> ihculrc comprise" ■nodMf part of both the coRae-t»on and the exhibition. The "Carcnai Museum exhibits include Oat puppet* by Mikolii Ales, puppets made hy Kaň! SvoJimký. a tiny theatre designed by amst Svätopluk líartní and examples of sloge design* from series produced sets (the most famous being the so culled Scenery by Crecŕi Aninlsf und sarla* puppels based on Ale*"s designs or from ihe workshop of Jan Krai
The last par of the o Oubiliur. presents puppets, siage designs and pos'ers documenting the activities of the puppet theatre associations through w'-rh the modem conception of puppet an oereksped m Czechoslovakia chrring the 1930s lin purucular. the Jnsef Skupa theatre in Plzefi with the famous puppet duo Speibl uud Uurri-nek. the Prague based Healm of Puppets anu liie Art Education theultv). Ihe Czech Punpets exhibition for which a catalogue with a large number of colour photographs »as published in French, is being held In the National Museum in Prague from March lu the end of August 1007.
tBapnVnfc mjf.oflnett hadH*m*le de mowicui* : • -.ii lire? Khcquc*. deuxx-inr najaM da XTXV wwlc Minn- nj lion JI Je Kra cue ľtmu, l>**'.w At"l-Wi<«>
Lexposition Vartwnellen tchequ** avail e-ló prepsi** par la section de Lhéátre du Muse* national de Prague, pour 1« galene Fondation Neumann do GingUis en Suisse, a I'orcasion du quutre-vingt-dlxiamo anniver saire de la naissancu d'Ľrik Kolár. theoncien (cheque du theatre de manonnelles. metteur en scene et professeur de I'Arademip des Arts dramatique* de Prague, inorl ä Grngins anus, ay a vingt ans I.exoosiUon tonus
de sepiemrxv 1900 a Janvier 1«"7 connut un succes considerable c-n Sxisc le nanonal a doiK decide de la presenter, sou* la méme forme, au public pregois qui riepins plus de tmq ans n'avmt pas pu voir ur.e exposition de marioiuieltes de cene envergure: en effet. cette collection unique du marionnertes ne luuil pas d'un lieu permanent vl cu n'est qu'á ľoccaslon de.\ positions que le public a la pusslbllité de I'appreicior-
La piemiOrw partie de I'enposiliom Murionnatía* tcheou^í renseignc sur laasentiel de ľhisloue du theatre de manonnelles tchwqua et sur ses grands pcnunnagM. On y trouve la premiere image irheque de tnariennutte. des graTures anuenctri qui representenl des figures de mar.nnnetttstes ambulant* pnnant sur Ic dos lout leur theatre dans un coUre en bma. ainsi que des afliches hi*torv*ie* de spec tacles de manonnettcs
09
rnriiHii: ic|»£-.v.~niJiiort dunc aiacionneiie en Bohéme, iíimvihk sm Ixií.-. il-.ni livic public- vers 1^90 ú Ijkimyll   bibhoíhčquc du Musee Naiional dr Prji>iiť
Lc noyatfclelexposition cherche á présentertidélement la cuJIecliou doni lei premiér* ohjets ont été arquís par ta Mušce dójů od J027 JuStn/en lílSíi. la formatínn de la collcctiun ctili! plus uu moins fortuně. Aprés cette dare. la colleclion u éié allacheu i la sectlon de rhéárre du Musée nalionul. quí a couuuciioc a la compléter de iaron systěmutique. Aujuurdhui. cllo comptc pres de 4.00.0 muríonnettesel un ji      i: jinUre ďaulrcsODJOHi de penis théá;res de mariunncllcs cumplcls ainsi quc des piéres de děcors. icccssoircs ridcaux.otxuesde Rarbane á marionnettes (groupe de marioiuicllus qui se mottem en m nu vemeni avec la musiquc de linslrumcntl. vieilles affirhes et patro:;!: Isur lesquels un unpriiuail les alTichnsl
1 'i pan le pnnripale de la collecdon regroupc des inarioii nenes ei des ihésires de maríonnelies pupuluircs Le-plus ancien parmí les ensembles de marionnelics csl celu! cl A i'" oíl k A Kopecká, daiam: envirnn de la moilič du XIX" sic clu. les au'   ■ h les darer.r de la fin du XIX" ou
du debut du XX1' siecle. A parr le rideau e". les mariun-
ncilcs d Amušlka Kopecká on espnse des ensembles de munoiuicllos fabriquúeo par les sculpteurs de msrion-netles do lluhůiiio du Sud amsi Que des marinnneites venanl de la ivgiun du pied des tttonts des Géams ou provenanl du palrimumu de laUiillcs rěputées de marion-nettístes ambulieits uu:it plusieurs gfnírailons oni exercě ce mětier. á travers nolrc pays. iusqua une époque rela-dvement recente. A cólé des inarionnotlCS Qut servaient á jouer despíěcesde ihcairclexposition prísente aussi des marionnettes diies de vuričlés. quo les manonnet-tlsres mnnrraient dar.s des scěiius spúcictlcs ■> la un dn spec; ad e.
la partie snivanre de la colleclion • el de Texposllion • PSI au*, rhěátres familiuux. Le musée ualíonal
prť-í-v   i les marionnettes plates de Mikoláš Aleš. les manonnelies de Karel Svoiinský. le peíil Ihěálre du plas licicn Svatopluk Rannš. des pv.emples de scěncs monlées a parlirde děcors fahviqués en série - les plus connus sout les Deíors ďanlstes rchenues - ains: que des murion
nettes (abriquées en series dapre* >• rte«m* ď Aloi ou bicn encuru telies sonies de ľatelier d* Inn Kral
Ladender» partie de ľ>Tpr*Skin montre do rnaiiotuxtlos. de» projets de scene er de* affiche* illuilranl I actlviió do* theatres de msnnnnetie* d assoculiuns qui dans los annee* M derelopfttieni de* • • cvpUotu mudumvi de ľait de la marinnneiie tie theatre do PliwA anime par Jowl Skupa, aver le célěbre couple de marionnette* Spejbl el Hurvínek ou den» thúáitv* pNgOH, ftata loutek
• Koyaum* de* manonneuc* el Divadlo umělecké výchovy
• Theatre de ITriiicatiofl arti&uque) Luxposíliun Monon-natu» ichffiuM. flrrompafijiee d'uit Cttimajun en Iranern* aver de nnmbreu*e* photographic* on toujour*, a Hau au Mu*** national de Prague, de mars ú tin aoůt IH»7.
C- > Antonín Balfcln. k. 1/rtW MMIO'Ult
-qiMivilc wen
A>li-> nurkmncttc* i h. tiuirtift-iir popu Ijiíc janeiVk. ílu <fci XIX*
dŕbut dU XV vr* Ir Ü ikvlMl.- .i.. MliVT
national dt- ni^r ****** Mtcbdkk
11
THE PUPPET MUSEUM
Mil see de la marionnette
The idea to estahlish the Puppet Museum first conceived in 192» when puppeteers from seven countries visited Prague, for rh« 5th Congress hold by ihu Puppeteers' Meeting organisation The enthusiasm gcucr ated at the meeting gave rise to the idea 10 establish an international organisation - Union Internationale do la marionnette - which exists to this day and is bosl known
by its Initials UNIMA. On iřiis occasion ihu wull known
Russian literary semiologiST. ethnographer and bohemi-císt Petr Bngsryrev proposed ihe fowidúig of a museum of puppet theatre In Prague Shite lliat lime this theme has been included in every' "UNIMA congress, most significantly m 1069 when the meeting signified the culmination of the I8lh Puppeteers' Chrudim, a festival of amateur puppeiry which lias been hold regularly every year since 1951 as a national, sometimes also international, event.
Perhaps the Chrudim puppeteer tradition itself encouraged the local authorities tu provide premises for the puppet museum which could not be found in Prague, the wonderful, newly-renovated Renaissance building known as Mydlářlluuse. the Chrudim burgher Mate) Mydlář. producer of soaps, candles and perfumes, commissioned its construction during the period 157:1-1577. His son Daniel, enchanted by the Orient, ordered a little tower and minaret to be built on tn rhe house The (osier's head wearing his cap and bells designed on one of the pillar capitals seemed tn predestine the current role of this wonderful house. The founding of the museum and the task of its tinancing was assumed by Ihe former Easl Bohemian Regional Com mil tee.
The spiritus agens of the protect, prof PliDr Jan Malik, also UNIMA General Secretary for many years, offered u
large pan n: his private collodion as a buse for ihe museum's hinds. It was also thanks lo Ids milialivo that individual UNIMA national cenin:* provided gills for the puppet museum from their own countries. The first installation of the permanent exhibition went ahead with the valuable assistance nut only of the museum staff and local volunteers, but also professional puppeteers, members Of Ihe famous DilAK theatre from Hradec Králově.
The Museum of Puppeteer Cultures - as it is officially known held its gala opening on 2nd July 1972. thus this year il celebrates its quarter-century. The museum has luicorgone a number of changes, the most important being that, after the closure of the Reginnal Committee. Il came under the auspices n: the Ministry of Culture of the CR 11 acquired new premises for rhe depositories of its growing collections, plus two beautiful old houses in Ihe vicinity of Mydlář House, thus it was able to expand lo in corporate new depnsitones. a library, a puppel playroom and a gallery. The museum cairronily houses approxinw tely fcotiti puppets from more than 40 countries all over the world, and over 60-000 additional collectors' items -stage designs costume designs, printed material, photographs, manuscripts, an works inspired by puppetry and much more - acquired from over 70 countries: the specialist library boasts over 15 000 volumes! All this during a mere ii years of the existence ofa museum which makes accessible anf! OOPulariscs its eulluclions- via a broad
<.MUSCUiIi Of I'lipiX-ts in (Jin:diiu rear wing Photo iwbitvš
spectrum of assorted exhibitions. The exhibition space itself has expanded: today MydUr House contains eight halls and exhibition rooms, tlie playroom wilh its puppets and rhe gallery are located in the adjacent house. The playroom was introduced two years ago Ui cooperation wir.h young stage designers from the Department of Alternative and Puppet Theatre as 'coiupensuliun' for the facr rhat children are always lold aoyer tu louch Ihe exhibits Hero, on ihe contrary, hand puppets and marion-eites can be played with and bundled nol otdy by children but also sportive adults hi honour of the jubilee season.
Chinese puppet. Museum of Puppets in tllmiiihn
iíkuojařmím Henm
the Museum decided to reconstruct a substantial part of Ihe permanent exhibition representing rhe traditional then I:, of travelling puppeteers. Czech family puppet theatre and a selection of foreign puppets from various museum collections. This year sees the installation of three temporary exhibitions. The World of the Polish Szopku. organised in rooperarinn with UMTMA's Polish centre, a ponrait of artist Franrisek Valena and a collection uf puppets designed by Karel Svolinsky" for the production th$ Sirakonice Bagpiper staged at ihe Central Puppoi Theatre in Prague in 1978. For [he numerous Oxliibillons held both in rhe Czech Republ ic and abroad in view of growing interest in the field - the museum has ulso organised several permanent travelling exhibitiuus (Czech
73
Puppet Theatre - History and Present, held in various settings. Czech Family Puppet Theatre. Foreign Puppet Museum Collections etc.) Today as many as is exhibitions are held outside the museum each year and others are planned not only for this year, but also, in part, fnr i S+iHt and
Like every museum whit!" houses exhibitions from the theatre environment, this museum, too. is based on the almost Don Quixotesquo desire to assemble mid pro serve transient puppoicer art via accessible materials, recordings and. DOW, alsu video tecordiiigs Naturally, ■be most precious surviving arc (ho puppets
IhemseKcs They may nut tell us much about Ihe quuliiy of the production in which Ihey appeared, however, they are for the most par; arhvurks in themselves They urc able lo intrigue us with their eiptvssiun. Ihey mtiy provide a Icslimun.v of all manner uf puppeteer technology, the different national puppet CuUOFOa and Ihey enable us to compare the various styles of the urtisls who created them. Ihey inspire us to engage in artistic activities of our own and. if we choose not to study the art of puppetry more closely, the sight of a. fascinating puppet will always grant us an emotional experience.
V > leutajiam inationeue. pupjsvt with two faces. India. Museum of I'uppets. Chiudim Pboto jar<xUu He/an
74
fin ,u> xrx» **xk. MU-.S; ifc-t jr» .fc- u nurtonoCflC. Clirmlilli
l'lmlii linr„!,n llrnill
Dejáen man, quanri 1*4 marioiuiciiisics lan de ."(«pi pays vinrenr A Praxuo a ! uceasion du cinquiáme i^njn - d- forman iMlinn -AsioOuJendes rtiarionriertistes' (•Loutkářské ■wiiuredenM 011 cuvisagca Id crvalion ďun musee de la mantsnneite L'aimospbčre enthousít«te de cette rencontre donna naisvunicaliCée de íonder un* urgar-isation :ni»rn»ilonale cummunc - J Union Internationale d* la nwionnuiu.' qui Miste toujours »«i plus connue sons le        UKIMA A cette occasion Petr Sogaryrev. sAmiotattuO liltérairv. clhnographe et ernment bohém; ca n* npaaa, propotí do crcer. a Prague. íin rmisiV du théátre do manuiiiiclus. Depuis. cette sncf£ft*>tion séra ěvoquee lan. do lous les. tongrěs de fUNIMA M. loul
paitkuhcrcmctit. en iMbSoú la renronhvcoiiKidail avec H XVIIT festival de ťJhrudm festival du thcutrc do Mitan> neltes amatcur qui. depuis insi. s<> dcnl iejtuliéremer.t dan) celte ville. comme nne mimi - m■ > ■> nulwnalv el parfois _~i e tna: ťxi s i e
í:-e«i *an* doute četlo trauitiun du theitr* de marion nenes prfcanla a Chrudim qui a mOi* aw ronsailleri dc la vtlle & offrir au tnuséc de Im marionnetíe la* locaux qn'on o Van pas su Lrouver a Pragu*. la mervolk-use maiKin líeiiaissanec V.ydlsř. réicemment remiw en cla: la maisun ful coaslruhe. dans les snnées 1X73 1577. par Maioi Mvdlář ouurgeois de Chrudim et fabriuuil de sa
75
von, fie bougies el do pacfuiiis. Son tils Daniel, grand admirateur tie 1'Oi'ionl. y ajOulu une loureílu de minaret. I.a réte d'un bouífon coiffů ďuu bunnel ú grelois. qui dé-core le cliaptteau ďuue du SO» culunncs sumble avoir predetermine la funclioii acluulle de cette admirable maison la fondaiion du museu aiusi que son finance-mem em. eic pris en charge pur le Comilc national regional lie la Boheme de IL«, nujuurd'hui dísparu.
Lo urofesseur Jan Malik, prnmoteur du projel el secre-liiire general de J'UMMA pendant de longnes annees. a olferl une grande partie de sa collection privee pour constituer íe fonds du musée. l.es différenis centres na-tionuux de IUNIMA ont nrfert au müsse sur son imiiaiive des marionnettes caractéiistiques de leurs pay* Lö pro rr.lere installation de ['exposition permanente a clo roah see grace aus employes du rniisee et au* volontainjs de !a vil'e et. tou: particuliérement. grace aux marionncuisles professionels. membres du DRAK. theatre de mariOnncllus repute de Hradec Králové.
Li' Uni ir! la i'riittj&M', Tiuriontit-iir"! (le television. PotOMW liollitTIIOnS du Miim't iIks jris <)e l:i nijntmnciir. Chrudim
Le Musée des Arts de la «nanonnetie • c'esi sou lilru nttiriei - a été inauguré le 3 pullet I9~2i Celle annúe. II céléhre done son vingt-cinquleme annivursairv Depuis rette époque. 11 a connu plusicurs changomenls Apres la suppression du Comite reAionaV il a eió rcprís en cJiargc par le ministére de la Culture Tchoque U s'esl agraudii de nnnveaux locaM* pQur SC5 dípúls qui conUtlUcul i senrichn: ainsi que deux belles maisuns voísiiius ee qui tul a permis ďaiouier a ses locaux de uuuvuaux depots, une sallc de bibllothoque. unu sallu du juu avec murion-neues el une galerie. Aufourďhui. los collections du
lieiht'. rmrlKiKi: lie Stefan \ěrmeefťi) (I9I~ - 1058). S.-.^.c.-; (JoMcitiiKii du Muitf de.-. :itis ile In nvmonneite. Chrudim
t'hrtiijimv-ltiv Derail
musée abrneni cnvjjuti ö CCO inariu-inettes ďune quaran-tatne de pays du monde entiur el plus de SO uuu objets -decorations, prujels actisliquus. imprimés. photographies, manuscrils, ceuvros d'url inspiréus pur la marionnette, etc - ven us du plus do 70 pays. Sa bibiothéque spériali-SÉC COmpie plus de 15 000 volumes. Veils pour le bilan des i■ i ' vingl cinqannees de 1'existence du musée
qui rend sus culleclions a- possibles au grand public et les popularise en orgunisant de nombreuses expositions. Peu ä pcu. le musée a agrandi ses surfaces d'exposuion aujourd'hui. la maison Mydlář posséde hint Salles, de tuiilus variables, la maison vo-isine ahrite une .    no Ct une salle de jeu. Celle-ri a éíé créé. il y a deux ans. Cil collaboration avec les jeunes seénographes du Departc ment du theatre altematif et du theatre de manonnctles file est destiněe á compenser le fait que les travailleurs du musée doivent interdire aux enfants de toucher aux objets exposes. Dans la salle de leu. au contrairo, les on fants comme les adultes penvent s'amuser en (ouuiit aux marionnettes á ňls on aux marionneites ä gani>
A l'ocoasion de son vmgi-cincjuieme ünmvcreaire. le musée a realise une renovation d'uuu grundu partiu do ['exposition permaiienle qui prúscntc le theatre traditionnel des marlonnetlistcs ambula>nls. le theatre de marion-
70
orlic* fanuíiul ichéqua *t «nnn «1« manoruíclles étrun-gěrcs tholsics dun* len ooMecTinns du muséc Celie an-nŕe. on IniUUe éBalanvant trois eflqjóatdOfla tomporaires: 1« Moník- de Im m ■; - - poioriaise. réahsee eu coUabonKion a«ec K- cenia- polocai* da l'OJTMA. le portratl du ptutl-cien Franllie* Vatvna et les manonnettes de Kurei Svouibkí reausvvs pour li nuse en scéne du Strakonicky dudúh. (le Jvueur de comŕitiuse <te SinAonial moniw. en 107i. au Cnlŕwlnl loutkové divadlo (Thóďlrc cenlrai de marionnatlaiil d# Prajroe. Fncouragé par un intéret cruissant. > mu«*» a prepa p| poiir des capositions dans iiotre puya ainsi nu'a feiranger. quelques ensemble* tti-néranls permanent*, rnnqus on plusiours versions selon Icipace dlspomble tie Thóúliv de íiiuriunnettes trheňua son pausa et snn presem, ei i plusícurs versions le Thearr* de murionnette* famihal icliequo: Maríonnettes etran-géres des rnllectinns du musoc. eitJ ActueJlemeni. on orĽttmse. hors du musŕo unc quúuuine ďexpositinn* par an et le ralendner du tnusee esl comble nor. senle-ment pour cene anncc. muús en par-.ie. po*jr les deu* annees suivantes
Le Musée de la manenaette cst né. comme tout musee deihearre. dudeSir.    ... .. :i    • • , • peut-etre. de re
rueillír « de conscrvcr du nuitťnel arressihl*. de* en rejiurementsei cesdemiers temp*, des tsfleorasscues lamoijmani de lart fugaev de la manonnetie. lesseniiel K en - - ■ -- i i. de loul 00 qui poul Mn eonservé. c'esi la mannnnetie II «1 vraj qu wile ne dlt pas frrand-chose uir la nualiié de la mise en scéne, ms an iftp> !■ HleOQMdMo par eUc-méme an ohlet dani Filcsail nous captiv.-  par so:i cspression. elle peín tAmoigncr des
■....... de maríonnettes lespbi* vaneos des ďuTč
renies tultures du thěátre de marionneilOí elle pernici de coinparer Jes écritures psTtiaillôros do pUislicions. Kilo sali ttispirer une créarion artlsttquo indlvlduelle ol móme si le visileurne s'intéresse pas fonclOroincni ä ľan de la :uurio.ir.etie. la vue ďune bolia inuriunnetie poul reussir ä ľémouvoir.
š- DR.\K Hradce hiA»ť \Tl
OiIrcifcMv du Musec oc* aits de tx uvuhamriM- Chrudkn
77
Puppet Collections
In Museums
In the Czech Republic
Les collections de marlonnettes
dans les musées
de République Tcheque
Thankt»!0* exceptional standing which the puppet theatre has held in Ih* histo'y ol C«ch cultura. thar* era puppet collections in a MffltMM ul regional museums. The most comprehensive collections ripen bulh to professional raaeerchoni and to the general publti mi) the following:
Vii lc 'ôtc oecsptionnei du thMcc du marion-renes dana ľhiatoiru de la culture eaMoBMt, HI QOatCOona do marionnanas nuu'oni dens la piupart des muaeai rórjlonaux. Les ohomhaura ci io grand public nouveiont les itiilcctions les pluscompihtim iiotamment dins les inatiiuttona vuivantet:
The locul of ma cnflecikm is on oka documentation o* itinerári: Ciech pupi^tecnt ..- r nij"io*'«T!a«rs of rha MM* i nd *9:h cantury. i'vel-iil-fiy their puppets and scanaty. and an ihc documentation of famiy end otsociaTion theatre nl the first half of the 20m reiilu'y fin panic ular Those undar thn iiiimci of MUnioerg. MOdry Žondo and JEKAl. Them arc also posters, piogiammim. pt>otuti'ophi and video r«c<Xdkine o< contemporary piofussional productions in Mor uvi u.
Contest Of. Jtioäiňv SJadaa,
ttt: ttt 41377 \?0S. fax: 0542212/92.
Ľnilérčl dc cos coUections rapOM sunout dans la dccurnantatiw' sir ks rnaro^rtarrisiÉ* •mr.Xii.isdcs XVlIl-a; XIX'nectě*, iwns "vi "o •vi en es. leurs w<ie* tW; \*id 01 cens la documentation svr <vs theatres faroliMix et lus thčatrss cassoc aiion* do <o prerniara fOOMA du XX*«laChl llobriquas principaie-meni par les rnaisons Múniheiu. Muďý St Ztmda et JEKAi. Ľhistoirc du thOatra protes-sionnel. .1      1      n d* Morav** hm roprc • 11ti. par des affiches, ilou 1: rtwtmes. ■i 11 photogiapiiics ot des videocassattas. ConiiKi; M. Jaroslav Blecha. fC< 0-3,42322120=. ŕ.. 0&422I27$2
Moravské zemské muíoum
Deportment of Theatre
History
Mosče du pays
mo rave, section
de 1'hiftioiru du iheínra
Kapucinnímastl n. 009 37 Brno
This is it niuaaurn bpcciolising in puppeis. ils collections containing b.rjOO : 1 1 ; ■■ ■ ■ from 40 different countries, together with scene rtnhigns, model sets, printed malurltil .ir-ri photographs. Tne rwuaauwi also has a library with more than 11.030 volumes on ihn theme of 0JCC=try. a craldrcn's room and a oarmanani aahit-tion iwrth access lot the rt'&aliiudi which oroides visiloi* »v*h a brie* history of rha CJech puopct thaatra. Contact AJaM ( «narova. .•/■•(..«. CM55 42047 01 <W&5 8703 >0-
M.see íoosacfč c«cluíŕvtmanT a la mnw none, cont les collections unmonnot pras da S 000 maunnncttca issutl dt 40 pays amai que des decors, dea piojels ou scone, dot modeles de ihaatro, dos imprimas at das photuipuphics- La mus»# abnin entilorncnt one biblioThěque speclaliuúc duns I'ort da la marionneiie iplus do II 000 volumen), una Mil tu do jco pour enfants et una opotition permanente accessible ou* partonnas i mobilite iriduitc; oella-ci present* «n atľúigC dc I'histoire du theatre de maiiunnottas I cheque.
fľ.'ť.'im i        Aiera eTxrunova. aKfax tWiä.íÄM7    04$S0203*0
Muzeum
loutkařských kultur
Museum of Puppets
Uusée ]■■■■ Ann du la Marionnatta
B'utisinvova 74. 63' 6 Chrudim
« Facade dc la inih< MrfdUE Muscc d*-» jn» tkla nurionnenc. tJiuuliin Raofo Itwostui Hvntn
lc ÚVůlie fjmilkil • Whii
du XV sicth-.
j Brno
Národní mtiľeum, divadel n i odd člen í
National Museum, I hfiaifŕ Department
v. isee national,
m'i l-::1! fill :: ľ- -Tr -
Václavské namést' 08, lib /9 Prague 1
The puppet : : i i- ■ i: 11 ts one ol the mest valuable deposits ol the Theatre Depaumunl ní the National Museum, which has the most extensive uollei-Mona ní Iheaiie ■ - --t — ■ .-.i anywhere in trie Czech Republic imore than one million iiems and documents). The puppet collection contains around 4,000 exhibits, amongst which are puppets made by country woodcarvers and puppcieeis. complete p'.,ppí: theatres including those run by families Hied serially pioduceO), stage designs and actual sets and curtains. Owing to the serious lack ní apace for the growing collections of the theatre department ol the Naiional Museum, neither the puppet collection nor sumu of uiiiei unin.ua collections aie able to present a permanent exhibition; instead, from time to time the puppet collection organizes exhibitions bulb at home and abroad.
Cooaoi JínoVa Patkoví re/- 02 24&7313
Ss collection ds marionnettes reprcsente un (lea fonds lea plus precieux de la section du theatre du Musec national, abritant les col-lactioos theatrades les plus riches du pays Iplvs de 1 million d'objets et de documents). Elle contiant plus de 4 000 objels. dum des manonnettes de sculpteurs e: de marionnet-tistes poouiaircs. des ttteaUes de marinnniaies complets y compris des theatres familiaux (memo MUX labriquus en siViel, des prnjeta artistiques, des realisations de decors el de rideaux. Le manque enrooique d'espaces disponibles aux collections de la section du ineaue du Musfis national, qui s'enrichis-sont continue! lenient, no pemiei pas a ce fonds, ainsi qu'a d'autres fonds uniques, o" installer una exposition permanente. Pour y remedier la section organise, de temps en temps, des expositions temporaires en Ropubliquc TchOfiuii et a reiianger. Contact: iVJme JSndra Pa'kovg, tel. 07/7-W.97.77.T
f> lowi VSchal 7)»- Tmtfi\ nflilih- lilf. weodeut lOl1
losel Vx'hal, f^aVnMaa """<> }siii •*{•' gravum*- sin Ixii.-. 1911
The editors would like to thank die following f<ir ili**ii kind cooperation in growing puhlicniim tiyhl.-.; ;rrin. jifi Trnku the younger rh\ife^.ir Jai*>*íl*iv WM\ ihc llmiiit' IViiaiunem ol die National ">'n--- .i: hi ■'-1...' ill-' 'lliiľiitii' iX.-] i ji i ment
ol tlie *'' i - r: i  i.;n MllM*iini ill Itrnn, 11 ■■' MuM'lľH tit Puppets
in Onijfľiv anil iln- He: it. of 1'n'i' ■:■ Theam- in 1'iaguc.
Tims in*, lemeicicmcnis poui 1 amiable cooperation ct les ilioiis dc icpiodutfl ■ i il M. Jdi Trnka lunior. M. le prolweur Jaioslav Ŕvjb. aux sections du theatre du Musčc national uV ľraguc ct du Musčc du pays morave á Brno. au Mow* da* aits de h ÔAŔÔBňevi de Chrudim et >iu theatre ftiíe lyuielc do Prague.
theatre
13/1997
Issued by Theatre Institute Prague / Kevue publiée par
ľlnstltut du Theatre Pra£uc
Director / Dlrcctciir Ondřej Cerný
Editor In chief / Rcdactncc cn chcIJaria Patočková
Responsible editors / Rčdactriccs Nina Malíková. Jitka Sloupová
Cover and graphical layout / Oouvcnure el muquellc
Ludmila Pnvlonskovä
l'r it Hed / Iniprimcrie a.s.Svnhoda. Praha 10. Sa^ceská H Published twice a year / Parair deux fols ľan
Subscript ion/AlKiti ne ment ft á I'adresár* Divadelní iístav. Celcinä 17.
110 00 Praha 1. CeakA rejMiMlka
€; Uivadelui ústav Praha 199'/
iss.N oa<ä2 uitao
HO