Dolls and Puppets

Max Von Boehn

Description

Many of the earliest books, particularly those dating back to the 1900s and before, are now extremely scarce and increasingly expensive. We are republishing many of these classic works in affordable, high quality, modern editions, using the original text and artwork.

Sujets

• Loisirs
• Artisanat
• Magic
• Games
• Activities

Informations

• Publié par: Read Books Ltd.
• Date de parution: 17 septembre 2020
• Nombre de lectures: 0
• EAN13: 9781528763523
• Langue: English
• Poids de l'ouvrage: 6 Mo

Extrait

DOLLS AND PUPPETS
BY
MAX VON BOEHN
TRANSLATED BY
JOSEPHINE NICOLL
WITH A NOTE ON PUPPETS BY
GEORGE BERNARD SHAW
With Thirty Plates in Colour and 464 other Illustrations
W OMAN HOLDING A M ALE D OLL Sessai Tsu Kioka. About 1800
NOTE ON PUPPETS
By GEORGE BERNARD SHAW
[I N the original German a translation of a letter sent by Mr Shaw to Vittorio Podrecca appears in the text after the quotation from Eleonora Duse (p. 395). Feeling that in its passage through two or three languages back to English the ideas might have suffered, I sent my literal rendering together with the German translation to Mr Shaw, who, declaring that he could not now recapture the original wording of the letter, very generously sent me a modified version, with a comment to say that he had originally written to Podrecca giving it as his view that flesh-and-blood actors can learn a great deal about their art from puppets, and that a good puppet-show should form part of the equipment of every academy of stage art. Since the passage printed here has not the form and wording of the letter once sent to Podrecca, and in view of its great importance, I thought it best to abstract it from the position it occupied in Herr von Boehn s book and print it in this place, although strictly it applies to the section on the marionettes.- Translator .]
I ALWAYS hold up the wooden actors as instructive object-lessons to our flesh-and-blood players. The wooden ones, though stiff and continually glaring at you with the same overcharged expression, yet move you as only the most experienced living actors can. What really affects us in the theatre is not the muscular activities of the performers, but the feelings they awaken in us by their aspect; for the imagination of the spectator plays a far greater part there than the exertions of the actors. The puppet is the actor in his primitive form. Its symbolic costume, from which all realistic and historically correct impertinences are banished, its unchanging star, petrified (or rather lignified) in a grimace expressive to the highest degree attainable by the carver s art, the mimicry by which it suggests human gesture in unearthly caricature-these give to its performance an intensity to which few actors can pretend, an intensity which imposes on our imagination like those images in immovable hieratic attitudes on the stained glass of Chartres Cathedral, in which the gaping tourists seem like little lifeless dolls moving jerkily in the draughts from the doors, reduced to sawdusty insignificance by the contrast with the gigantic vitality in the windows overhead.
G.B.S.
ACKNOWLEDGMENT
T HE author and the publishers wish to thank those in charge of various public and private collections who have given help in the preparation of this book. They feel that they are specially indebted to the following: the Department of Prints at the Staatliche Kunstbibliothek, the Kunstgewerbe Museum, and the Propyl en-Verlag, Berlin; Herr Georg Zink, the town librarian at Heidelberg; Privatdozent Dr Carl Niessen, of Cologne; the Victoria and Albert Museum and the Bethnal Green Museum, London; the Bayerische National-Museum, the Museum f r V lkerkunde, the Theater-Museum (Clara-Ziegler Foundation), and the Armee-Museum, Munich; the Germanische National-Museum, the Bayerische Landesgewerbe Anstalt, N rnberg; the Staatliche Porzellanmanufaktur, Nymphenburg; M. Henri d Allemagne, of Paris; the Spielzeug-Museum, Sonneberg; the Kunstgewerbe Museum, Z rich.
Herr Dr Lutz Weltmann, of Berlin, was good enough to allow the use of his literary material for a history of the puppet theatre; for this both the author and the publishers welcome the opportunity of offering him their particular thanks. Dr Weltmann s studies were directed principally toward the literary significance of the puppet theatre, and that subject could not have been introduced into this book without making it inordinately lengthy. It is sincerely to be hoped that Dr Weltmann may have the opportunity of bringing before the public his valuable researches.
Grateful acknowledgment is also due to Herr Direktor Dr Glaser, of Berlin, and Herr Geheimrat Dr Schnorr von Carolsfeld, of Munich, for their courtesy and assistance in providing access to the collections under their care.

YOUNG GIRL WITH DOLL AND DOLL S CRADLE Woodcut by the artist using the monogram I.R. About 1540
CONTENTS
PART I: DOLLS
I.
P REHISTORIC I DOLS
II.
A NCESTOR I MAGES
III.
F ETISHES , A MULETS, AND T ALISMANS
IV.
I MAGE M AGIC
V.
V OTIVE I MAGES
VI.
F UNERAL AND OTHER I MAGES
VII.
W AXWORKS AND THE M ANNEQUIN
VIII.
T OY D OLLS IN A NCIENT T IMES
IX.
E ARLY T OY D OLLS IN E UROPE
X.
T HE F ASHION D OLL
XI.
T HE T OY D OLL IN THE N INETEENTH C ENTURY
XII.
T HE T OY D OLL IN THE M ODERN P ERIOD
XIII.
D OLLS OF E XOTIC P EOPLES
XIV.
D OLLS USED FOR D ECORATIVE P URPOSES
XV.
P ORCELAIN F IGURES
XVI.
U TENSILS IN D OLL F ORM
XVII.
T HE D OLL AND THE S TAGE
XVIII.
E DIBLE D OLLS
XIX.
T HE D OLL IN L ITERATURE
PART II: PUPPETS
I.
A UTOMATA AND M OVABLE I MAGES
II.
T HE O RIGIN OF THE P UPPET-SHOW
III.
T ABLE D ECORATIONS AND THE C HRISTMAS C RIB
IV.
T HE T IN S OLDIER
V.
T HE P UPPET-SHOW IN A NTIQUITY
VI.
M ARIONETTESTHE IN THE S IXTEENTH TO THE E IGHTEENTH C ENTURY
VII.
M ARIONETTES IN THE N INETEENTH C ENTURY
VIII.
T HE S HADOW T HEATRE IN THE O RIENT
IX.
O CCIDENTAL S HADOW T HEATRES
X.
M ARIONETTES IN THE F AR E AST
XI.
T HE P UPPETS OF T O-DAY
XII.
H OW OUR M ARIONETTE T HEATRE S TARTED
T HE P UPPET-PLAY OF D OCTOR F AUST
B IBLIOGRAPHY
I NDEX
ILLUSTRATIONS
PLATES IN COLOUR
I.
W OMAN HOLDING A M ALE D OLL
II.
D OLLS OF THE T USAYAN I NDIANS
III.
G IRL WITH F AN
IV.
F ROM THE G ALERIE DES M ODES , 1780
V.
D OLLS OF THE P ERIOD OF THE F RENCH R EVOLUTION
VI.
D OLLS OF THE P ERIOD OF THE F RENCH E MPIRE
VII.
E NGLISH M ANNEQUIN, ABOUT 1800
VIII.
E NGLISH D OLL, ABOUT 1830
IX.
D OLL, ABOUT 1865
X.
E NGLISH DOLL, ABOUT 1875
XI.
D OLL
XII.
D UTCHMAN . G ISELA
XIII.
P IERROT WITH L ANTERN . I SABELLA
XIV.
F IGURE OF A H ORSEMAN, AFTER L EONHARDI
XV.
N UTCRACKERS , E IGHTEENTH C ENTURY
XVI.
T HE M ECHANICAL C LOCK ON THE T OWER OF M UNICH T OWN H ALL
XVII.
L ES P ETITES M ARIONNETTES
XVIII.
P UNCH-AND- J UDY S HOW IN F LORENCE
XIX.
F IGURE OF K ASPERLE , E IGHTEENTH C ENTURY
XX.
P UNCH-AND- J UDY S HOW IN N APLES , 1828
XXI.
I TALIAN M ARIONETTES
XXII.
M ARIONETTES
XXIII.
J AVANESE W AJANG F IGURES
XXIV.
W AJANG F IGURE (J AVA )
XXV.
T URKISH S HADOW-PLAY ( K ARAG Z )
XXVI.
M INISTER FOR F OREIGN A FFAIRS . M INISTER FOR H OME A FFAIRS
XXVII.
T HE E VIL S PIRIT N ATT
XXVIII.
F ROM W ASIF UND A KIF ODER DIE F RAU MIT DEN ZWEI E HEM NNERN
XXIX.
S CENE FROM A DAM S C OMIC O PERA D IE N RNBERGER P UPPE
XXX.
P UPPET T HEATRE
ILLUSTRATIONS IN THE TEXT
1. M ARBLE I DOL FROM T ROY (T HIRD B URNED C ITY )
2. L EAD I DOL FROM T ROY
3. F LAT B ONE I DOLS FROM T ROY
4. A MBER I DOL FROM S CHWARZORT
5. R ED C LAY I DOL, ABOUT 3000 B.C .
6. C AKE-FORMED I MAGES IN T ERRA-COTTA
7. P H NICIAN T ERRA-COTTA I DOL
8. F EMALE T ERRA-COTTA I DOL FROM N IPPUR , C HALD A
9. E ARLY T ERRA-COTTA I DOL F ROM T ANAGRA
10. P RE-MYCEN AN S TONE S CULPTURE
11. T HE S O-CALLED W ILLENDORF V ENUS
12. P RIMITIVE B RONZE D OLLS OF P REHISTORIC T IMES
13. C LAY D OLL FROM M YCEN
14. M ARBLE D OLL FROM D ELOS
15. T ERRA-COTTA I DOL FROM T IRYNS
16. F EMALE C LAY I DOL FROM K NOSSOS , C RETE
17. C LAY I MAGES, WITH I NDICATION OF T ATTOOING, FOUND IN C UCUTENI, NEAR J ASSY , R UMANIA
18. N EOLITHIC I SLAND F IGURES
19. B RONZE D OLLS FROM K LLEBORG AND S CHONEN
20. E TRUSCAN B RONZE D OLLS FOUND IN N OVILARA AND V ERONA
21. E TRUSCAN B RONZE F IGURE OF A W OMAN
22. P RIMITIVE B RONZE D OLL
23. T UB OF A NCESTORS S KULLS OF THE N GUMBA (C AMEROONS ), WITH M ALE AND F EMALE A NCESTOR F IGURES
24. A NCESTOR F IGURE OF THE B ANGWA (C AMEROONS )
25. A NCESTOR F IGURE OF THE B ALUBA (B ELGIAN C ONGO )
26. F EMALE A NCESTOR I MAGE OF THE B ALUBA (B ELGIAN C ONGO )
27. W OODEN I DOLS FROM S UMATRA
28. W OODEN A NCESTOR I MAGES FROM S UMATRA
29. A NCESTOR I MAGE FROM THE F IJI I SLANDS
30. A NCESTOR I MAGE FROM THE F IJI I SLANDS
31. A NCESTOR I MAGE FROM THE C AROLINE I SLANDS
32. A NCESTOR I MAGE FROM THE N EW H EBRIDES
33. P ROTECTIVE F IGURE FROM THE N ICOBAR I SLANDS
34. S PIRIT OF A D EAD S HAMANIST ( IN W OOD )
35. W OODEN I DOLS
36. W OOD-CARVED I DOLS OF THE T SCHUKTSCHI , S IBERIA
37. H OUSE I DOLS OF THE O STIAKS IN J UGAN
38. F ETISH OF THE B ASSONGE (C ONGO )
39. N AIL F ETISH FROM THE L OANGO C OAST (F RENCH E QUATORIAL A FRICA )
40. W OODEN N AIL F ETISH OF THE B AWILI , L OANGO C OAST (F RENCH E QUATORIAL A FRICA )
41. W OODEN D OLL H AMPATONG
42. F ETISH OF THE B ATEKA (F RENCH E QUATORIAL A FRICA )
43. L EATHER D OLLS FROM S OUTH-WEST A FRICA
44. Y OUTH AND M AIDEN
45. M AGIC D OLL
46. T HE G OD S AKTI K UMULAN AND THE G ODDESS D ALEM K AMENUH
47. M ALE AND F EMALE M ANDRAKES
48. F AIENCE F IGURE OF A P RIESTESS OF THE S NAKE-GODDESS IN K NOSSOS , C RETE
49. C LAY D OLL FROM A G RAVE OF THE B RONZE A GE NEAR K LI EVA S ERBIA
50-52. V OTIVE B RONZES FROM O LYMPIA
53. V OTIVE F IGURE , M IDDLE OF S EVENTEENTH C ENTURY
54. T HE I RON M AN OF B UTTENWIESEN
55. S ACRIFICIAL I RON M AN
56. S ACRIFICIAL I RON F IGURE OF A W OMEN
57. S ACRIFICIAL I RON F IGURE (L OWER B AVARIA )
58. S ACRIFICIAL W OODEN F IGURE OF A M AN
59. A NCIENT E GYPTIAN G RAVE D OLLS
60. E GYPTIAN W OODEN D OLL FROM A M UMMY S C OFFIN
61. E GYPTIAN I VORY D OLL
62. E GYPTIAN W OODEN S TATUETTES -P RIEST AND P RINCESS
63. E GYPTIAN U SHABTI F IGURE OF F AIENCE
64. B ARBER
65. H ANDWORKER
66. H OU