History reference. types of puppet theaters and types of puppets

HISTORY REFERENCE

The first mention of the puppet theater is associated with the holidays ancient egypt. The scenes from the life of God Osiris, played with the help of statuettes, gathered crowds of people. In ancient Greece, they made huge figures that decorated precious stones and set in motion on special holidays. In Greece, someone came up with the idea to depict the world with a box that has no front wall. At the bottom of the box, they came up with slots to insert sticks and control the puppets. Entire plays grew out of small children's scenes, and the theater turned out.

Echoes of this theater still live today: the Ukrainian nativity scene, the Polish shopka. All over the world, puppet theater has become a genuine folk art. Puppeteers played many folk tales, parables, legends.

Every country has favorite dolls.

In Italy, Pulcinella is considered a favorite doll. Pulcinella is translated as a cockerel, he is very cocky and funny.

The French carved a merry doll of Polichinel from wood. He has huge eyes and rosy cheeks. The secret of the doll's mood depends on the turn of her head.

In England, there is an invincible Punch who fights courtiers, policemen, officers and executioners. He always wins, and the audience rejoices.

The favorite of the German people is Casperle. He is a mischievous and rogue, plays in plays for adults and children.

The fate of the Russian Petrushka is also happy. The people have always loved a merry fellow who easily copes with priests, devils and other evil.

The first news about the existence of a puppet theater in Russia dates back to 1636, recorded by a German traveler. In 1700, the first tour of puppeteers took place in Russia.

One of the most famous puppet theaters in Russia is the State Academic Central Puppet Theatre. S. V. Obraztsova. It was organized in 1931. Most The performances were staged by S. V. Obraztsov, who from 1949 was the director of the theatre. In 1937, the Museum was created at the theater theatrical puppets, whose collection is considered one of the best in the world.

The main types of puppet theaters

Puppet theater is one of the varieties doll-like art. In puppet theater performances, appearance and physical actions characters are portrayed by puppet actors. Puppet actors are usually controlled and driven by human actors, puppeteers. It should be noted that the phrase "puppet theater" is incorrect and offends the professional dignity of puppeteers, since the adjective "puppet" is associated with the concept of "fake". It is correct to say: “puppet theatre”, by the way, this is how all professional theaters are called.

There are three main types of puppet theatres:

1. Theater of riding puppets (glove), controlled from below. Actors-puppeteers in theaters of this type are usually hidden from the audience by a screen.

2. Theater of grassroots puppets (puppet puppets), controlled from above with the help of threads, rods or wires. Actors-puppeteers in theaters of this type are most often also hidden from the audience, but not with a screen, but with an upper curtain.

3. The theater of puppets of middle (not riding and not grassroots) puppets controlled at the level of puppeteers.

The variety of forms of performance in the puppet theater is determined by the variety of types of puppets and their control systems.

Types of dolls

1. Puppet- a kind of doll that the puppeteer sets in motion with the help of threads. Ropes are attached to the arms, legs, torso and head of the doll, threaded through the holes of the so-called "cross", through which the doll makes human movements.

2. Glove type dolls. Design glove puppets consists of a head on a finger and a glove on the puppeteer's hand. Parsley is one of the representatives of glove puppets.

3. G cane dolls- is set in motion with the help of a cane on which the doll is put on. Such dolls may have not one, but two canes, then it is controlled with two hands.

4. Puppets. The doll is put on a person. It is made on a special frame and can be of various sizes.

5. Nativity dolls.The body of the doll is mounted on the handle, holding which the puppeteer guides the doll through the slit of the nativity scene. Typically, dolls are carved from wood and covered with cloth or painted.

6.Mimic doll - riding theatrical doll from soft materials. The actor's fingers, which are in the doll's head, control the eyes, mouth, and nose of the doll.

7. Shadow puppets- planar figures. They are shown on an illuminated screen in the form of silhouettes.

The origins of the puppet theater go very deep into the past, in primitive times when a person lived in the community of his tribe and lived in secluded caves. Almost every primitive tribe had its own totem, that is, a sacred animal, which they worshiped and praised. According to the belief of the man of those times, the totem was endowed magic power. He was treated with great respect, reverence, they prayed to him and made donations, sometimes even human lives. In most tribes, it was customary to make a kind of symbolic display of the totem. With a similar personification of the deity, various rituals were performed, which should have contributed to good luck.

In Russia, it was also customary to create similar totems. They were small dolls, whose task was to protect children from all evil spirits, damage and the evil eye, and during various festivities to play the role of a deity. Gradually, with the development of the culture of society, these amulets became just children's toys. They helped stage life situations and embody invented funny stories in the game.

The first theatrical puppets

The appearance of the first theatrical puppets is due to the ancient Greek traditions of arranging home performances. Family members sewed dolls, outfits for them, created scenery, and then organized performances. Noble wealthy people could afford to make dolls from real silver or even gold. In the same period, the first dolls began to appear that could move with the help of drive belts and steam. Such instances led the audience simply delighted. A little later, the dolls were placed in a special box with holes provided, from which they protruded during performances. With such "magic" boxes, puppeteers wandered around the cities and showed small performances.

During the Middle Ages, such performances were held directly at fairs and squares. The popularity of this type of theatrical art led to the emergence of not only puppet artists, but also puppet artists. For their performances, they had at their disposal only a piece of fabric stretched on a rope. Puppeteers in their performances told about love and hate, good and evil. In the middle of the nineteenth century, separate rooms began to be allocated for such performances. New improved dolls were able to joke, cry and express their feelings to the public. They praised goodness and ridiculed human shortcomings. During this period, the variety of dolls was simply amazing - small, large, glove dolls, plates, spoons, reeds, puppets, mechanical, shadow and others.

Now we perceive it as childish, but it began to be considered as such only in the twentieth century. Exact time The origin of this art form has not been established, but the first mention of the puppet theater is associated with the holidays of ancient Egypt. The scenes from the life of the God Osiris and Isis, played out with the help of statuettes, gathered crowds of people. Puppets then served as huge figures, which were lavishly decorated with precious stones and set in motion on special holidays.
The first news about the existence of a puppet theater in Russia dates back to 1636, and in 1700 the first tour of puppeteers took place in Russia.

History of the Bolshoi Puppet Theater

The BTK building was built in 1912 for a wealthy merchant, banker Yevgeny Burtsev. He planned to open a museum here contemporary art, which was supposed to be located in a hall with a high glass ceiling. After the revolution, the building was nationalized, mobile theaters gave performances in it, and for 40 years in a row there were various Jewish communities.
BTK itself moved into this building in 1941. Up to this point, the theater wandered around the various venues of the city since founding it in 1931. five enthusiasts. Only in 1956, director BTK Korolev M.M. opened the corresponding department at the Institute Theater Arts(RGISI), which was the second in the world.
Now BTK gives not only puppet shows, but also dramatic, musical and plastic performances.

Three types of puppet theater

1) Riding puppet theater(glove, gape-cane and dolls of other designs), controlled from below. Actors-puppeteers in theaters of this type are usually hidden from the audience by a screen, but it also happens that they are not hidden and are visible to the audience in their entirety or half of their height.
2) Grassroots puppet theater(puppet puppets), controlled from above with the help of threads, rods or wires. Actors-puppeteers in theaters of this type are most often also hidden from the audience, but not with a screen, but with an upper curtain or a hedge. In some cases, puppeteers, as in riding puppet theaters, are visible to the audience in their entirety or half of their height.
3) Middle Puppet Theater(not riding and not grassroots) puppets controlled at the level of puppeteers.

Nativity theater

This performance is played strictly before Christmas. It arose because of the seminarians who went from house to house and showed skits about the life of Jesus Christ in a cave where he was hidden from King Herod.
The nativity scene was a large box, inside of which there was a stage, usually two-tiered, sometimes three-tiered. On the upper stage they showed the worship of the newborn baby Jesus, on the lower stage - episodes with Herod. The second part of the performance was usually hot topics, where the main role assigned to Petrushka.
The dolls were set in motion with the help of small slots.

Shadow play

He came from the East from the rituals of Indonesia and China. Perhaps this is the most ancient view theatre. In the 17th century shadow theater migrated to Europe.

Masque

The theater of masks came from ancient Greece. AT ancient theater, which housed 10,000 spectators, no one would have seen the faces of the actors if there were no masks. Therefore, the faces of the artists were visually enlarged.

In the photo on the left is panochka's father.

Panochka. At night, it's probably scary to stumble upon such props.)

Types of dolls

Puppet

The first type of puppet is a puppet suspended on strings attached to a vaga. The length of these threads can be a maximum of one and a half meters. The word thread etymologically goes back to the word nerve and therefore it is the most humanized doll, because even if it is a horse, it is still the closest to physiology. One such puppet costs from 200,000 to 600,000 rubles.

Previously, the threads were dyed with special paint to hide them, or a special net was hung up so that the viewer's attention was scattered and it seemed that the doll was walking by itself.
The repertoire of puppets represented the indifference of everyday reality, appealed to eternal themes: biblical, antique stories, alterations chivalric romances. The classics of the repertoire are Don Juan and Faust.

Parsley

Every country has favorite traditional characters. In Russia it is Petrushka.
In France, it's open, he has huge eyes and rosy cheeks. The secret of the doll's mood depends on the turn of her head.
In Italy, Pulcinella, which translates as a cockerel, is very cocky and funny
The favorite of the German people is Casperle. He is a mischievous and rogue, plays in plays for adults and children.
Dolls Punch and Judy are heroes in Britain.
In England, there is an invincible Punch who fights courtiers, policemen, officers and executioners. He always wins, and the audience rejoices.
The fate of the Russian Petrushka is also happy. The people have always loved a merry fellow who easily copes with priests, devils and other evil.

These are traditional fairground heroes. The ordinary puppeteer had a four-sided screen. There were no more than two characters in the scenes, because a person has only two hands.
There are two ways to control the doll - Moscow and St. Petersburg.
Moscow - with the index finger they control the head of the doll, and with the thumb and middle fingers - her hands.
Petersburg - the head of the doll is put on middle finger, and her hands - on the thumb and little finger.

N. I. Smirnova

Egyptian tomb. Its door opens from the warm air that comes from the sacrificial fire.

How often in life do we pronounce the words - "doll", "screen", "puppet", as in judgments about people we use the expressions "pull the string", "soulless doll", "idle doll", or even abusively and angrily - " damn doll." In strict newspaper articles we read: "a puppet government", "the head is a puppet", "behind the screen of high-profile reports". The writer G. Ibsen called his play " Dollhouse". "Open secrets," people say ironically when they want to say that there is no secret. "Puppet comedy!" - we are indignant about a vulgar trick. "Some kind of parsley!" - we get angry when faced with confusion .
Since ancient times, in the languages ​​of many peoples of the world, there has been a comparison of human life with a puppet that is pulled by a string.
The puppet theater has long excited people both with its strange resemblance to living beings, and with the fact that it constantly gave rise to philosophical reasoning: the example was too obvious - managing and being controlled.
The theme of the puppet, the threads that set it in motion, and, finally, the theme of the human will that guides this movement, are constant not only in ancient, but also in medieval philosophy.

Antique Greek figure. She is holding an image of a sheaf of wheat and the sun. Details are driven by a specially attached rope.

As far as people remember themselves, always - in childhood, everyday life, religious rites - there was an object next to a person that he endowed with a special relationship: whether this object was a symbol of God (or many gods), whether he personified the secret of nature, or simply depicted a person.
From faith in the ability to depict what is hidden from the eyes, what is only guessed behind the change of day and night, winter and summer, life and death, the movement of the sun and the aging of all living things, from faith in the ability to express one's attitude to these phenomena in simple and understandable forms, movement and the puppet theater grew.
Man has always been worried about one of the amazing properties of the puppet theater - the miracle of a dead object coming to life right before the eyes of the viewer.
And from time immemorial this is a miracle - a simple change of rest by movement began to be colored with mystery, mystery.

Greek tomb of Bacchus. Its upper part rotates thanks to a hydraulic installation.

But it was noted that a miracle only becomes a miracle when an object that comes to life acquires the ability to resemble a living being - a person.
From time immemorial, the capacity of man for fantasy, aroused by this amazing miracle, has also been noticed. That is why, probably, the motionless images of the gods - and in ancient times they were in every house - were replaced by moving figures and figures, which a person endowed with a special attitude. This was the beginning of the puppet theater. Its origins.
In fact, the man saw a figure come to life. This prompted him: she is moving - therefore, she is alive, and since she is alive - she is able to think, and if she thinks, then she has will and desire. But if she is still not a person, but something else, different from him, then, obviously, there are such secret spheres, into which it is not subject to human thought to penetrate. And these areas inaccessible to humans for a long time remained the secrets of death and the emergence of life, the secrets of fertility and natural disasters.
The puppet theater has survived thousands of years, dozens of historical structures.


This engraving depicts the action of tablet puppets that move with the help of a rope. It is believed that these figurines were found in Roman ruins.

The first mentions of puppetry associated with festivals in Egypt.
Women went from village to village with songs, carried small figurines in their hands, thirty to forty centimeters high, and set them in motion with the help of special ropes. The flutist walked ahead. Such dolls are found both in Syria and on the territory of Latin American states.
Archaeological excavations have helped to see a picture of the oldest festival in Egypt, dedicated to the life of the gods Osiris and Isis (XVI century BC).
Spectators gathered for the performance did not sit in one place. Crowds of spectators were in groups on both sides of the road, and the "spectacle" was piled up on many chariots. Such a cart drove up to the first group of spectators, the actors played the first scene on it - the chariot drove on. The next one drove up - that's the continuation of the action (this principle was subsequently preserved in English medieval theater and received the name "pedzhent"). The division of the action into separate scenes, which were also played by different actors, is not yet the most essential feature of this performance. The main thing was that the roles of the gods in this theater were performed only with the help of puppets. They were carried on the hands and set in motion by the hands. Man could not assume the role of God.
Let's pay attention - a person depicts a god, a kind of "higher" being, not with the help of a costume, a mask, not with the help of his own body, but with the help of a special object. In this way, he wanted to express a certain idea with an immeasurably less "mortal" (and in the eyes of a person even immortal) material - clay, wood - than himself, a mortal person.
Religion took advantage of man's belief in the special properties of inanimate but moving figures.
AT Ancient Greece from precious metals and precious woods made huge figures, which were called automata. They came into motion only at the most solemn moments of the religious action.


Ukrainian nativity scene with dolls. Folk Christmas performance. XVIII century. From the Museum of the State Academic Central named after S. V. Obraztsov.

These automata can hardly be called a theater in the full sense of the word, but the element of theatricalization in these performances still existed.
With the help of steam, drive belts, people controlled the movements of huge figures.
"How alive!" - Witnesses of these spectacles exclaimed.
The priests set in motion the head, arms, legs of automata-bots, causing fear, creating an atmosphere of sorcery, mystery, horror.
The manufacture of automata with the same striking power of influence persists for a long time in the ancient world.
The Greek tradition is strengthened and immeasurably expanded in Ancient Rome.
The Roman poet Publius Ovid Nason describes a miracle that happened in the temple when, during a solemn sacrifice, the statue of Servius Tullius closed her eyes with an angry gesture of her hand so as not to see her criminal daughter.


Model of the Krakow Shopka. Poland, XIX century. From the Museum of the State Academic Central named after S. V. Obraztsov.

And Titus Livy (a Roman historian), describing the miracles that took place in Rome during the festivities in 578, mentions a feast arranged in the public square in honor of the gods reclining on purple beds, in front of the laid tables: "The earth trembled: in the middle of the forum, where there were lodges, the gods who rested on them turned their heads away, refusing food. This miracle struck citizens of all classes.
And besides, in every house - in ancient Greece and in ancient Rome - there were always their own dolls, and sometimes even a collection of dolls. They were part of the decoration of rooms or table decorations.
The most skillful masters of Athens, Megara, Ephesus competed in the art and miracles of mechanics.
Their dolls, which have survived to this day, were distinguished by the elegance of style, beauty of decoration, and ingenuity. The toy "flying dove" has come down to us - a prototype of future aircraft. This is an amazing for that time, a perfect mechanical figurine of very fine workmanship.
They knew the ancients and other dolls.
In ancient Rome, they staged a procession with huge puppets. Caricatured mechanical images amused or intimidated the crowd. Gut were huge fantastic African monsters, which were called sharp-toothed, with huge, wide, terrible jaws.
At that time, carnivals were often arranged. During the carnival, everything seemed to change places - a slave could laugh at his master, a jester became a patrician, an artisan could portray Caesar himself.

Frame. Javanese flat leather doll. Indonesia, 19th century. From the Museum of the State Academic Central named after S. V. Obraztsov.

There was also another theater in Greece. One of them was led by a puppeteer named Poteyn.
These theaters played secular stories, fables, parables, comedies of Aristophanes, Plautus, and other ancient authors, trying first of all to amuse and amuse their audience.
On the territory of Ancient Greece, an art arose, which is commonly called the Bethlehem box.
This "theater" for the first time and in a very original way tried to tell about the universe, about the existence of "heaven" and "earth", "top" and "bottom", "divine" and "earthly" in the form, of course, as it seemed to the ancients.
Someone came up with the idea to depict the world with the help of a box in which there is no front wall and which is partitioned in half horizontally.
Then they made small dolls and placed them below - under the partition. And on top they settled dolls that depicted the gods. So it happened: people - below, gods - above.
But I wanted the dolls to move.
They came up with such slots at the bottom of the box, where the rods from these dolls were inserted. The rods threaded through the slots could be controlled - this is how the movement was born. And then they came up with skits, whole plays - and it turned out to be a theater. Serious theatre. For adults.


Medieval woodcut. The rod attached to the head of a three-dimensional doll, which the master holds in his hand, attracts attention.

When the ancient states collapsed, and new formations were created on their territory, small boxes with unpretentious dolls were inherited by the next generations.
Puppeteers roamed around Europe with boxes. Everywhere they showed the same story of the birth of Christ and the story of King Herod.
Christ was in the upper, "divine" compartment of the box. And downstairs, in the "human room", more and more new characters, plots, events often began to appear. Every scene has its own.
Echoes of this theater still live today.
In many countries there is very strong evidence of how this simple idea has influenced the development of culture.
The first puppet shows have been preserved in the memory of people as one of the forms of magic, spells.
Javanese theater, for example, arose from the ritual of worshiping dead ancestors.

Illustration from the book "Don Quixote" by Cervantes, depicting folk puppet show Spanish wandering puppeteers. Puppets on a rod played out scenes from French royal chronicles and Spanish romances.

As in other countries of the world, in particular in some areas of the Malay Archipelago, in Indonesia there was an idea that the dead had magical powers and could provide protection and assistance to the living.
To attract the spirits of the dead, special figurines were made, in which they supposedly should move in. The very souls of the dead appear to many peoples of the world, including some peoples of Indonesia, in the form of shadows. Thus, one of original views theatrical spectacle - shadow theater.
Shadow theater was most widespread among the peoples of Asia and the Middle East. The shadow theater is characterized by an appeal to the epic, folklore. The shadow theater was most widespread in the Tang era (7th-9th centuries). The images of the Indian classical epic "Ramayana" and "Mahabharata" are preserved in the performances of wandering puppeteers in India and Indonesia to this day.
And this is how the shadow theater was born on the island of Java. Initially, in every house, people evoked the souls of dead ancestors. They coaxed them with treats and incense. This was done among the Javanese, as a rule, by the head of the family in his own house. Later it passed into the hands certain people- priests, shamans. And in order to assure themselves of the real existence of these "souls", people came up with a shadow theater.
A special profession appeared - puppet drivers.
The people who worked with dolls were called dalangs.
Dalang showed the shadows of mythical ancestors, sang their heroic deeds and deeds.
Over time, these heroic tales, laudatory hymns turned into narratives with a certain plot, constant heroes.
Such a theater was called wayang-kulit. The unhurried, epic nature of the presentation of the plot (and the performance began at ten o'clock in the evening and lasted until dawn) was punctuated by cheerful dynamic scenes. They were necessary for the relaxation of the audience. Then two comic figures appeared - Killekyata and his wife.
The doll depicting Killekyata was black with tousled hair, thick lips, a protruding belly, crooked legs and arms. This folk hero joked cheerfully and always topical.
It was believed that Killekyata had an impact on fertility and harvest, so the figurines - a sculptural image of this hero - were placed by farmers on the field during the harvest. They hoped that this would help to reap a good harvest.
Decorations were already used in the ancient wayang kulit. They were needed to indicate the scene of action (palace, gates, mountains, forest), necessary for greater reliability of the story. And the story itself remained a striking mixture of magic and reality. There were as many incantations about the fragility of life, stories about the gods, as there were vivid pictures of life around.


Folk festivals in Russia. Performance with Petrushka. XVII century. Engraving by the German traveler Adam Olearius.

From generation to generation, century after century, "playing with a doll" entered not only the religious, magical, but also the artistic sphere of human life.
A person not only learns the nature of the puppet theater, the ways of its influence on people, but also consciously uses or rejects these properties.
Centuries will change, millennia will pass, and a person will admire the properties of a dead object that comes to life, acquiring its own own life, filled only with its inherent rhythm, character and content, or, on the contrary, will indignantly reject this property in order to search for the similarity of the doll with a person.
Born in the Middle Ages folk theater dolls. These artists on the square had no need to prove to their audience that their little heroes have a special magical power, that they are "alive". The puppeteers did not consider it shameful for themselves to go directly to the public to demonstrate their skills - a miracle of skillful hands and imagination, ingenuity.
For many centuries, the puppet theater has developed alongside drama theater, sometimes turning out to be his ghost or mirror, sometimes a shadow, and sometimes a surrogate.
But it is precisely in the last millennium that those special features puppet theater, which we appreciate today and which make it an independent living art.
Among all peoples who knew the puppet theater, one way or another connected with magic or religious cult, exist literary records at least one or two plays (or scenes), descriptions of puppets, stage arrangement, performance.
Many have survived and literary sources- certificates prominent writers who mentioned one or another traditional spectacle that had been preserved for many centuries.
These plays were built as review plays: the same hero was shown in relations with other persons, who could be replaced over time. Even in those countries where we know almost nothing about the performances themselves, their orientation, puppets and scenery, we always meet one or two puppet heroes with whom the whole country is familiar.
In puppet theaters, starting from ancient times, there were typical images that lived for centuries, and today's, "momentary" heroes often appeared next to them.
So it was in ancient times, and in the Italian theater of the Middle Ages.
Along with the heroes of fables and legends, characters of folklore and ancient literature topical "popular figures", "portrait" dolls also acted.
On the territory of Romania, for example, in the puppet theater, the figure of Napoleon, extremely beloved in this theater, was constantly introduced.
It is even possible to trace exactly how "popular faces", with layers of time, gradually became generalized images, and over the centuries - and household heroes. The interaction of such common characters led to the birth of "types of life".
Life itself selected, formed these "types".
There were national puppet heroes. They were created over the centuries and remained immortal through the centuries.
Historically, puppet theater all over the world, having become a truly folk art, developed in very close proximity to all forms folk art: fine (including folk crafts) and, of course, folklore.
Puppeteers played many folk tales, parables, legends.
The image that passed from oral folk art to the puppet screen (and this "transition" was carried out for decades) was enriched not only with new features, but often acquired a completely new character.
Then these same folklore heroes became the subject of study of great literature. But then they already looked a little like their ancestors - the puppet image acquired, in comparison with the verbal one, not only a certain exaggeration, but also great depth.
Over time - and above all in Europe - the puppet theater has become a kind of "pantry", a treasury of "types of life" and many plots.
Scientists from Italy, Romania, Germany proved that the plots of the works "King Lear", "Romeo and Juliet", "Faust", like many others that have become the pride of world literature, were known long before Shakespeare and Goethe, not only in oral art but also in the performances of puppeteers.
Goethe met the plot and image of Faust at a puppet show. “We can take it as established,” writes Wilhelm Kreuzenach, the famous German historian, “that the first decisive impression of the legend of Faust was made on Goethe by the spectacle of marionettes.”
Even after Goethe touched Faust, the folk play on this plot not only did not lose its significance, but continued to be the pride of the repertoire of many puppet theaters in Europe. The genius of Goethe illuminated it with a new light.
Until now, many puppet theaters in Europe play fairy tale plays, the plot of which almost completely coincides with the plots of Shakespeare's tragedies. These are not adaptations of the plays of the great playwright at all, but those folk plays that Shakespeare probably knew and that were born long before his birth. They have changed little since then. And, strange as it may seem, it is the old puppet tales often turn out to be those "storehouses", "repositories" of plots and images, from which even today one can still draw a lot of all sorts of wisdom.

Instruction

Set up a stage. A screen can be made very simply: stretch a rope in the middle of the room and hang a piece of cloth or a light blanket on it. If you need to put something on stage, then put a flat board between the backs of the chairs and throw a blanket over it. From above, in this case, you can put any decorations, toys, artificial forest. The finished scene can be decorated with bows, paper hearts, drawings, fish.

You can make hand puppets on your own! For this, gloves unnecessary in the household are suitable, on which you will need to embroider eyes, nose, mouth, decorate the resulting face from threads. The main thing is that the toy should be the size of the puppeteer's hand.

Make a fabric toy. To get a pattern, put your palm on the paper and trace around. The hand should be in such a form as if it was worn: forefinger looks up, the thumb and little finger are spread out to the sides, the rest of the fingers are tucked in. On the pattern, make allowances on the sides in the amount of one centimeter for seams. Now take a dense fabric, soft and pleasant to the touch. Cut the two parts of the glove doll and sew them together. As a head, you can use a ball made using the papier-mâché method or borrow this part from an old unnecessary toy.

Come up with a scenario. You can take everything as a basis famous fairy tales or something original. The younger the participants in the performance, the simpler the work should be. At first, a child can be entrusted with a role with a minimum of words, and then complicate his game. When the script is ready, choose the right sets and costumes.

Find sound effects for the performance. Can be written musical accompaniment to a separate disk, turn it on and off at the right time.

Arrange a rehearsal of the performance, where each puppeteer will be able to repeat his part of the words, practice interacting with the toy before the presentation to the public.

When everything is ready for the premiere, build from chairs auditorium. You can make toy tickets for puppet show, make a mini buffet with drinks and popcorn. The main thing is that all participants home performance get the most out of the process.

Choosing a name is difficult if the purpose is not clear. theater or the mission of the creators. In order not to delay the search, you can turn to knowledge from the field of marketing. Then the founders of the theater will have 4 equal opportunities.

Instruction

Associate with the value of viewers. By this you will show that you are dedicating to some ideal close to the audience. To find value, research the interests of future visitors. Imagine a fire around which like-minded people are gathered on a cold evening. The name of the theater should play such a role. What value can unite people like that? The name " Puppet" emphasizes the idea that they are images of people striving for beauty. By analogy, find a value that is close to you and potential customers.

Find the name in the audience problem. People like to talk about the problems that haunt them. Grouping around problems is common. To protect against troubles and problems, committees, congresses, communities are created. This seems understandable and natural. The theater may have the name "Justice". There is a lot of pain and hope in such a name. Find a similar name, depending on the planned repertoire of performances.