Marionnettes

Yojtívh Sueltaula «.leeoration oť the tower on the Koruna palace. Prague 1913
Pboto Jiň
\M'tix:ka
La marionnette
vue par les artistes
Marie Bílková
The Victorious Invasion of Puppets Into Bohemia
P
uppot thoal.ro as a continuous p r o f e s s i o n a l activity
found its way into the C z e c h Lands a f t e r the Thirty
Y e a r s ' War (1610- 1G<18), through English, G e r m a n and
Italian theatre companies, in which artificial actors partially or entirely replaced the human material which had
boon severely deploted In the course of the war. This exp e r i e n c e of substitution, which essentially lasted until
the renaissance of puppetry at the beginning of the twentieth century, loft p r o f e s s i o n a l p u p p e t t h e a t r e on the
f r i n g e of artistic activity, w h e r e it soon b e c a m e p o p u l a r
as a universally accessible form of e n t e r t a i n m e n t . From
approximately the mid-eighteenth century Czech puppeteers replaced nomadic foreigners. Families travelled
around the countryside, making their living on performing
with m a r i o n e t t e s and m a k i n g use of the opportunity to
r e i n f o r c e the ability of C z e c h to function as a l a n g u a g e
"of culture". T h e y e n j o y e d the o p e n and grateful response
of a p r e d o m i n a n t l y l o w - b r o w public up to about the
m i d - n i n e t e e n t h century and contributed through thenp e r s o n a l c o m m i t m e n t to the e d u c a t i o n a l e f f o r t s of the
C z e c h National Revival, Towards the end of their activity,
revivalist p u p p e t e e r s b e c a m e the object of intellectual
parody, and shortly alter that w e r e whole-heartedly applauded during the epoch of the "puppet renaissance" (which
was also an intellectual endeavour). They became a legend,
which due to its idyllic nature only r e m o t e l y r e f e r r e d to
living p e o p l e . In this way. M a t ě j K o p e c k ý (1775-1847) bec a m e a l e g e n d a r y figure and symbol for the e n t i r e c e l e brated world of puppeteering during the National Revival.
He w o r k e d with his family in south Bohemia, in a r e g i o n
2
w h e r e puppeteering families w e r e vigorously active. T h e
c o u n t e r p a r t in N o r t h B o h e m i a was in the P o d k r k o n o š í
( L o w e r Giant Mountains) with the Sucharda family who
w e r e Nová Paka wood carvers.
Legend and Inspiration
A man w h o gained recognition for shaping the e f f e c t i v e
popularisation of this l e g e n d , f r o m the s a m e r e g i o n as
the K o p e c k ý family but to be found a m o n g the later (yet
the most p o p u l a r ) offshoots of the Revival, was M i k o l á š
Aleš (1852-1913). He was a draughtsman, caricaturist and
painter; d e s i g n e r of l u n e t t e s f o r the N a t i o n a l T h e a t r e
(the Viasi o r Homeland
cycle), c r e a t o r of f r e s c o e s and
graffiti work for houses in P r a g u e and Pilsen. and one of
the first C z e c h book illustrators and an involuntary creator of mystifications. As an artist he played a role in the
legend which would later s e r v e the communist glorification of "pure national art" opportunistically linked to the
"people". Aleš was suitable material for cultural ideologues.
H e was p o p u l a r with the masses, and a c k n o w l e d g e d by
experts. His comprehensibility and orientation of his subject matter towards the life of ordinary people w e r e beyond
doubt. His artistic abilities have stood the test of time He
ardently celebrated the heroes of C z e c h history and legends: he idealised rural folk, sometimes merrily ironising
t h e m , and u n l e a s h e d his s h a r p h u m o u r on the " r u l i n g
state". Ales's tendency to harmonise reality, not to c o m plicate but to illuminate it with a nationalistic or w a r m
C>Family puppet theatre. Prague 1906 National Museum
Prague
Photo I Iktor
Kronbauer
touch, was not condescending but natural and spontaneous,
and tempered with talent and good taste. It is true that
he kept the graceful and dignified o r d e r of Czech rural
life well outside an aristocratic pastoral Utopia, but his
world was not the "realistic" reflection of society as it was
later i n t e r p r e t e d by pupils of the socialist school. Essentially it e m e r g e d from his m e m o r i e s of childhood
and early youth, memories of the time when Aleš really
had lived in the country, idealised in a popular way after
the fashion of the National Revival K o p e c k ý and his
puppets likewise b e l o n g to the k a l e i d o s c o p e of those
ploasant yet not o v e r - s w e e t e n e d r e c o l l e c t i v e pictures,
drawn with a kind and sometimes humorous playfulness.
Alefi's fictitious porLrait of Matéj Kopecký was eloquently
sLylised in the form of a legendary hero among popular
p u p p e t e e r s , himself a little reminiscent of K a š p á r e k ;
it was nearly u n d e r s t o o d as an illustration of a r e a l
character.
Before Christmas 1912. when the Czech Lands w e r e still
part of the Austro-Hungarian empire, the first series of
what w e r e known as A l e š s puppets a p p e a r e d on the
market. The marionettes for household and school thea-
4
tres from the workshop of Antonín Miinzberg were mostly
modelled by Karel Kobrle. This type of puppet would be
produced under the same trade mark in yet more senes
and would turn into a concept which to some extent is
still valid to this very day What sort of share in "his" puppets did Aleš have at the age of sixty, when only a year of
his life remained 0 In his youth Aleš had drawn, coloured.
cut up and pasted t w o - d i m e n s i o n a l c a r d b o a r d p u p p e t s
for the pleasure of the children w h o lived in his lodgings
(1877), and l a t e r f o r his o w n c h i l d r e n (1891). C h i l d r e n
p l a y e d with the puppets, whilst A l e š e n g a g e d in the
productions only occasionally. He no l o n g e r participated
in the direct production of the puppets. "AleS's puppets"
w e r e not d e s i g n e d by the artist but w e r e inspired by his
t w o - d i m e n s i o n a l p u p p e t s and g e n r e d r a w i n g s , (AleS's
drawings, particularly the illustrations of folk songs, bec a m e at this time the m o d e l f o r v a r i o u s products of an
A A puppet series Ibr domestic puppel theatre from
Antonín Miinzberg's workshop, Prague IV.-JO / National
Museum Prague
<J"l)evH" puppets, end 19th - early 20lh century / National
Museum Prague
I'bolos Viktor Kroiibctuor
artistic industry such as handkerchiefs, neckcloths, and
decorative utensils.) Insofar as Aleš was strongly inspired
by the b e l o v e d puppets of his childhood, we may find in
his models the "retold" puppets of the Kopeckýs and their
w o o d c a r v e r s . A t the t i m e of AleS's c h i l d h o o d (in the
1850s and 60s) puppets w e r e r e g a r d e d in a parodie light,
to the e x t e n t that they e x p r e s s e d p o p u l a r p a r o d i e s of
d r a m a in a stubbornly old-fashioned p u p p e t e e r i n g style,
A t the s a m e time, in spite of a m a n i f e s t l y s y m p a t h e t i c
r e l a t i o n s h i p , AleS's c o n c e p t of the p u p p e t b e a r s the
m o d e r a t e attributes of parodie deformation, for e x a m p l e ,
oversized heads. The puppets created after AleS's models
are made deliberately archaic and naive. Despite a certain
ridiculousness and clumsiness, they reaffirm their beauty
and effectiveness, and even have some of the magic of the
"revivalist" style. A l e š liked puppets but he did not devote
his life to them. N e v e r t h e l e s s , those w h o w e r e a d d i c t e d
to puppets chose him as patron and perhaps unwittingly
also as a sort of mascot (the head of one of AleS's puppets
5
< Josef Vííchal, Doctor I-'atisltis, 1910
Chrudim
Museum of Puppets,
Photo Jaroslar Beran
b e a r i n g the a p p e a r a n c e of the a g e d A l e š - the p r u d e n t
w h i t e - b e a r d e d townsman) At the beginning enthusiasts
pursued their hobby on a non-professional basis.
The Puppet Renaissance
When, at the turn of the nineteenth century, interest in
p u p p e t s b r o k e out to its full e x t e n t , the i n i t i a t o r s and
s u c c e s s o r s of this w e r e to a l a r g e m e a s u r e the artists
and designers Painters and set designers painted scenery
(whilst also designing puppets, acting, reciting and directing), sculptors d e s i g n e d and m o d e l l e d puppets and did
not avoid g e t t i n g i n v o l v e d in o t h e r a c t i v i t i e s S o m e of
t h e m r e m a i n e d e n c h a n t e d by the "traditional" c o n c e p t
(such as the s t a g e d e s i g n e r s K a r e l S t a p f e r and J o s e f
W e n i g . the p a i n t e r s a n d g r a p h i c artists A d o l f Kašpar,
Artuš S c h e i n e r and others), while others l o o k e d at m o d e r n f o r m s and possibilites (the urban artist V l a d i m i r
Z a k r e j s . the p a i n t e r Vit Skála). But they did not a r r i v e
at any sort of f u n d a m e n t a l r e v o l u t i o n a r y f o r m b e f o r e
the First World War Cartoonists w e r e e s p e c i a l l y active
( Z d e n ě k K r a t o c h v í l . H u g o B o e t t i n g e r and later O n d ř e j
6
> Variety show puppet and
curtain of a folk puppet show ,
2nd half 19th century
National Museum Prague
Photo Viktor
Kroiibauer
<1 Puppets made by the folk
puppeteer Bohumil Habich,
end 19th century, National
Museum Prague
Photo Viktor Kronbauer
S e k o r a ) , as w e r e l a n d s c a p e p a i n t e r s ( O t a B u b e n í č e k ,
Jaroslav Panuška, later Vlastimil Rada) and understandably
sculptors (Josef Sejnost and particularly Ladislav Saloun,
an artist using art n o u v e a u s y m b o l i s m , w h o a p p l i e d
himself to the monumental sculpture of memorials).
In 1913 (the y e a r a f t e r " A l e š s " p u p p e t s a p p e a r e d ) .
Scenery by Czech Artists was published and went into
another edition in the 1920s. Its publication was initiated
by the remarkably gifted theoretician Dr Jindřich Veselý
who was also an historian, folklore specialist and collector
as well as an organiser and propagator whose systematic
life's w o r k c r e a t e d the g r o u n d w o r k of r e s e a r c h activity
in the field of puppetry. Like Ales's puppets these scenes
w e r e also m a d e f o r "school and h o m e " . It was t h e n an
educational activity. A l t h o u g h not all visual artists had
a lasting relationship with puppets, they e v i d e n t l y took
t h e i r task s e r i o u s l y and paid g r e a t attention to it. T h e
"tasteless G e r m a n " g o o d s which had so f a r been used
w e r e to be r e p l a c e d by this s c e n e r y (in the p r e - w a r era,
m o r e noticeable emphasis had been put on the attribute
" G e r m a n " rather than that of "tasteless"), T h e Scenery by
Czech Artists t e n d e d to be i d e n t i f i e d as r e f o r m i s t . T h e
area of the puppet theatre, which had so far used a reduced
c o p y of the b a r o q u e G a l l i - B i b i e n a w i n g system, was
"purified" by a reduction of the pairs of wings. A proscenium
arch made of cubist components was designed by František
Kysela, painter, g r a p h i c artist and s t a g e designer, who
participated in the first production of Czech expressionism
(Viktor Dyk's Znujudřeni dona Quijotu, The
Enlightenment
of Don Quixote at the Vinohrady Theatre in 19H, directed
by František Z a v ř e l ) . T h e g e n e r a l t o n e of the s c e n e r y ,
however, gives a very "sensible " and moderate impression
7
even for the period in which it originated. In short it
follows a middle course. But there is perhaps one exception,
tolerated perhaps because it concerns the likeness of a
terrifying environment - that of Hell. A contributor to the
newspaper Národní Listy wrote, "This hell is original in
that we have a somewhat different idea of the story-book
theatrical hell - this is rather more jocular. We know that
lost souls are suffering there, yet the figures of comical
devils make the suffering bearable, indeed self-evident..."
His colleague at the newspaper Národní politika, apparently shattered, managed a manifestly diffident
A set ol puppets belonging to folk puppeteers, eiul l l 'th
early 2()th century
sigh, "I do not know whether even Kašpárek would not
bo anxious between those white-hot cauldrons, between
wailing sinners, broken limbs and the pile of palid skulls.
He is still a hero!"
Possessed by the Puppet
This hell as the nightmare of a disordered sinful soul for
whose fragile frame await phantasms, was created by the
versatile artist Josef Váchal (1884-1969), a friend of Veselý, whom he helped to arrange a set of devils for the
first Prague Exhibition of Puppetry in 1911. IfVáchaPs
8
parents had married, one of the most controversial of
Czech artists would also have borne the name Aleš, since
Váchal was the son, born out of wedlock, of Josef AlešLyžec, patriotic teacher and propagator of skiing, cousin
of the renowned "National Artist" Mikoláš Aleš. Váchal
entered the history of Czech puppetry by means of a
quantatively negligible episode, and it does not seem as
though he influenced the development of this field in a
direct or significant manner. It is good not just to mention
but also give proper emphasis to his restless individuality,
embracing spiritualism, esoteric activities and satanism.
I'lmto
\~iktor
Krxmtxiuer
as well as the marginal g e n r e s of " s t o r e - k e e p e r s ' songs"
or spine-chilling literature, in as much as they are related
to the world of puppets (His puppets of rejuvenated w o o d
can be both a discarded toy and an icon.) This phenomenon
who. unlike his uncle Mikuláš, w a s not only subject to
communist surveillance but was even turned into an outright taboo and considered an infection of "perverted art"
(except f o r the brief p e r i o d of the thaw in the 1960s), did
not assert himself completely across the whole of his creative career; however, from the beginning of the 1980s he
was almost f a s h i o n a b l e (initially as a taste of f o r b i d d e n
>Mikoláš Aleš,
7hc Arrival of Itinerant
Puppeteer in a Small Town.
1890
Photo archives
V Burgher
Self portrait as a puppet
In Mikoláš Aleš
Workshop
ot Antonín MUnzherg, I'rague
1912
Photo archives
fruit). For the peaceful souls of the traditionalists he was too entrenched and
importunate, f o r the p r o g r a m m e s of various m o d e r n m o v e m e n t s similarly
entrenched, not to mention deliberately archaic. He was his own man in the
most e x t r e m e sense. A p a r t f r o m a short p e r i o d of token association with
S U R S U M , w h e r e he introduced Veselý as a theorist, Váchal was a social
and artistic loner, a m i s a n t h r o p e and a thorough e x e c u t i o n e r of visions
which w e r e his and his only. He c a m e into contact with puppets af, the beginning of his c r e a t i v e life, when, even with his individualistic and uneasy
life, he was still able and willing to "get to know people". Apart from the wings
for the scene of hell, he carved several puppets for his friend Veselý, which
e v i d e n t l y e n r i c h e d the historian's collection and w e r e designed m o r e f o r
e x h i b i t i o n p u r p o s e s . Váchal d e a l t with the typical m o t i f s of p u p p e t r y
9
such as Faust ami the Devil in his wood cuttings inspired
by subjects from puppet theatre in the journal Český loutkař
(Czech Puppoteer).
lit1 even accompanied the pictures with scripts, allegedly
from the output of folk puppeteers. T h e character of
Skřet is one of the puppets carved in about 1911 This
carving is of a fantastic little creature with d e f o r m e d
limbs, with which it could hardly move. It is more a symbol
of a puppet, a mysterious wooden being, than a puppet
or marionette in the true sense of the word The reason
Veselý dealt with the usually non communicative Váchal
was because of his relationship with wood, intrinsic to
this individualistic jack-of-all trades. In reference works,
a whole plethora of areas of activity tends to be listed
against Vachtil's name: painter, printmaker (of woodcuts,
wood engravings, linocuts, corkcuts, etchings, etc.). woodcarver, typographer (qualified book-binder), writer It can
be seen that for Váchal working with wood was of the first
10
order. In his own voluminous books, which "came out' in
only small numbers, he produced by a method of wood
engraving and carving not only of the pictures but also
the gothic-style lettering As one critic said, he c a n e d
anything he could lay his hands on He did not merely
carve statues but pipes, sticks, paper-weights and engraved
on his own and his friends' furniture He carved such a
horrifying sequence of creatures into the furniture of his
patron. Josef Portman of Litomyšl, that with one glance
at the bed even the most notorious sleeper would loose
the desire to submit to his passion
At first glance. Váchal and his uncle Aleš are not linked
by any apparent artistic affinity, but let us look at their
relationship m o r e closely Josef, who did not have any
undue affection for his father, recognised Mikoláš, visited
him in the family circle and evidently enjoyed himself in
his company In his fiery memoirs Paměti the work of a
sarcastic and e v e n e m b i t t e r e d man, A l e š is f o r him o n e
of the f e w p e o p l e about w h o m h e is c a p a b l e of s p e a k i n g
positively and with any sort of enthusiasm, although the
Memoirs e n d with the First W o r l d War. Both h a d t h e i r
o w n w o r l d , g e n e r o u s l y p o p u l a t e d m o r e o r less w i t h a
permanent circle of beings, a w o r l d they e n c h a n t e d and
fascinated by consistent c r e a t i o n - the o n e in a popular,
the o t h e r in an i n d i v i d u a l way. But e v e n b e i n g d e n s e l y
p o p u l a t e d did not s u f f i c e to c o v e r the w h o l e s u r f a c e .
W h e r e v e r t h e r e is no little figure, t h e r e is an o r n a m e n t
or a letter. It e v e n b r i n g s to m i n d the " o r i e n t a l " f e a r of
e m p t i n e s s . But this m a i n l y c o n c e r n s t h e p e r s i s t e n t
manifestations of the art nouveau tendency of the period
for all c o r n e r s of life to be a d o r n e d "to suit themselves".
In the spirit of this atmosphere, Váchal and A l e š simultaneously e n c r o a c h e d on the territory of objects of daily
use. Aleš anticipated the creative stylisation of art nouveau
itself with its predeliction for ornament, flatness, linearity
of expression, w h i l e Váchal took it as his starting point.
The individuality of both, however, is victorious o v e r style.
A l e s ' s f i g u r e s a r e p e o p l e f r o m the real w o r l d , e v e n if
idealised or slightly caricatured, w h e r e a s V á c h a l s beings
a r e f r o m the w o r l d of spirits and i n s o f a r as p e o p l e a r e
present at all, they "suffer" expressive deformation through
some sort of somnambulistic or devilish obsession. A l e š w a s
an artist who professed renaissance ideals; Váchal could
not bear renaissance restraint and was inclined to gothic
and b a r o q u e m y s t i c i s m . A l e š w a s an artist of the day,
Váchal of the night. Ales's relations to puppets w e r e of a
f o l k l o r i c and i d e a l i s t i c i n c l i n a t i o n , whilst Váchal as a
spiritualist saw the p u p p e t as a b e i n g f r o m a " d i f f e r e n t
shore". For him, the closest puppet was clearly the devil.
Váchal wrote about the devil, carved, etched and painted
him. A c c o r d i n g to his testimony, this p h e n o m e n o n had
been c o n s i d e r e d his daily and nightly b r e a d since early
c h i l d h o o d . He had a l r e a d y b e e n d r a w i n g d e v i l s as an
a p p r e n t i c e . H e took such things quite seriously, e v e n if
with his characteristic sarcastic grimace. In one coloured
w o o d - c a r v i n g e n t i t l e d The Wooclcarver's
Domestic
Life
(in Orbis Pictus, 1932), he depicted himself w o r k i n g on a
print "which a devil himself prints on Váchal's machine...".
So the r e l a t i o n s h i p was that of c o l l e a g u e s , i n d e e d , of
friends. Váchals world was of supernatural beings, animals
and o b j e c t s as an a l t e r n a t i v e to the w o r l d of p e o p l e in
which he did not f e e l at e a s e . T h e " i n h u m a n " f i g u r e s ,
including the dead, are m o r e alive in his interpretation,
and sometimes m o r e colourful, than actual living p e o p l e
as in Sen mrtvého, 1918 (The Dead Man's Dream). In relation
to this, it is of i n t e r e s t to recall the w o r d s of E d w a r d
Gordon Craig in his essay The Actor and the Super puppet
of 1908. " P h a n t a s m s strike m e as m o r e beautiful and
more alive than men and women... It is impossible to get
inspiration f r o m s o m e t h i n g which d o e s not r e c e i v e the
sun of life, but out of this mysterious, m e r r y and, a b o v e
all else, full life, which is known as death, out of this life
of s h a d o w s and u n k n o w n s h a p e s in which t h e r e r e a l l y
cannot be m e r e l y d a r k n e s s and mist.... but also living,
diverse colours, living light, clear, distinct shapes..."
The second Exhibition of P u p p e t r y took place from 19211922, again thanks to Veselý, and w a s not simply a retrospective like the o n e ten years b e f o r e , but also a survey
of contemporary n e w tendencies and impulses. N e v e r t heless. a collection of devilish beings, conceived in a so-
mewhat v e n e r a b l e manner, m e t with great success, not
least a c c o r d i n g to those w h o r e p o r t e d the exhibition and
Váchals devil justified its place among them. In papers
written about the exhibition, considerations appear about,
what makes a puppet a puppet, why an actor may imitate
a puppet but n e v e r a puppet an actor, why realistic decorations are wrong, etc, In Bohemia thoy hud finally begun
to think about Iho puppet in the context of the twentieth
century. The oxpivssionisticnlly grinning little hand puppet,
h e a d s of J o s e f S k u p a f r o m P i l s e n a t t r a c t e d attention,
T h e restrained m o d e r n i s m of Ladislav Sufnur (1897-1076)
in his designs for the decorations of puppet theatres was
warmly recieved. l i e was a g r a p h i c and d e c o r a t i v e artist,
an architect of dwellings and exhibition space and a stage
d e s i g n e r . Sutnar dealt, with puppets systematically, and
so his aesthetic view and m o d e r n i s t artistic c o n c e p t i o n
was a d a p t e d to the n e e d s of household and school pup
pot practices, a i m e d at the perceptions of Iho child spectator and producer.
Sutnar's w i d e s p r e a d activity also Included d e s i g n s of
w o o d e n toys f o r A r l ň l (1900 1934), Iho association of
artists from various fields of applied art, who In conjunction
with art nouveau had attempted to raise I ho artistic level
of subjects of everyday use in the spirit of modern aostho
tics, which, understandably, In o v e r twenty years of the
group's existence had changed (from cubism via d e c o r a
live rondo-cubism to functionallsm), Apart IVom (uwollory,
souvenirs, glass, ceramics and I'urnllurn, "assorted goods"
like toys and p u p p e t s w e r e sold In A r t e l ' s sales outlet.
T h e y w e r e inspired by folk toys.
Those reporters who mentioned Iho participation of Iho
architect Jiří Kroha (IH»:MS)7'I) at the second Exhibition
of Puppetry, spoke about his contribution with hesitancy,
if not unfavourably, "...the unploasa.nl, spirit of G o r m a n
E x p r e s s i o n i s m r e v e r b e r a t e s in the 'thoal.ro of things'
which is a d e s i g n too litorary, too papery.,," [Stráž čsl.
socialismu
/ The Guardian of Czechoslovak
Socialism).
Kroha was e v i d e n t l y the only e x h i b i t o r to bo p a t e n t l y
p r o v o c a t i v e . A p a r t f r o m his painted t w o - d i m e n s i o n a l
puppets, which the correspondent did not find "likeable",
he exhibited a " K n i g h t " m a d e out of tins, a " M o t h e r of
Mugs", " M r Box" and other items representing "the theatre of things". Like Váchal, Kroha's puppet e x t e m p o r e
was episodic. N e i t h e r horo nor there do wo find u direct
influence, but h e r e and t h e r e is tho c r e a t i v e naturel of
the artist linked expressively and symptomatically to the
phenomenon of the puppet, although tho starting point of
both is in polarity. Váchal was a magician engrossed in
the depths of the past. Kroha was an advocate and a pion e e r of avanl. g a r d e m o v e m e n t s in t h e i r clear-cut f o r m
(for e x a m p l e , in architecture he wont from cubo-futurism
to militant purism). Even though wo m a y attach to him
m o r e than one attribute - painter, sculptor, stage designer,
theorist - the focus of his interests and activity r e m a i n s
in the field of architecture. Kroha's puppet "contact" is
related to the m o r e well known p e r i o d of his creativity,
to his s t a g e designs, to which he d e v o t e d h i m s e l f f r o m
1921-1923. His stage-design projects brought to a head by
Utopian extremism w e r e only partially accomplished at
the p r i c e of c o m p r o m i s e or w e r e c o m p l e t e l y abandoned.
N e v e r t h e l e s s , K r o h a w r o t e h i m s e l f into the history of
m o d e r n C z e c h stage design. T h e shorter his reach, the
m o r e it was distinct. Kroha's conception of stage design
for dramatic theatre is directly affiliated with the phenom-
enon of the p u p p e t . It d o e s i n d e e d c o n t i n u e C r a i g ' s
d r e a m of the super-puppet, in this case e q u i p p e d with
literary and spiritual symbolism and t r a n s f o r m e d into
the spirit of the programrnaticaliy i m p e r s o n a l i s e d abstraction of the Italian futurists such as that of Fortunato
Depero and of the German Bauhaus with Oskar Schlemrner.
Kroha attempted an absolute style of the unity of stage
and actor, who would fulfill his mission of a mobile artistic
component, a building unit of dynamised architecture,
without gainsay or human errors. His demands of the
stage w e r e both expressive and related to movement. It
is the first d r e a m of a C z e c h kinetic set, which f o r its
conceptual consistency in the control and manipulation
of the acLor could not be fully accepted by the official theatre. We think of how iri 1022 Kroha attempted to apply his
basic s t e n o g r a p h i c technique in the "stone theatres"; in
the P r a g u e National Theatre in Mutój Poctivý lMu.llh.ew
the Honourable)
by A r n o š t Dvořák and Ladislav Klíma,
d i r e c t e d by Vojta N o v á k ; and in Svanda's T h e a t r e in
S m í c h o v in Christian Dietrich Grabbe's 7,ert, satiru,
ironie a hlubší význam (,Joke, Satire, Irony and Deeper
Meaning), directed by Jan Bor, ( A f t e r the Second World
War, the a r c h i t e c t Josef S v o b o d a d e v e l o p e d a k i n e t i c
concept of the stage by means of modern stage techniques.)
II; was not, however, the first dream of subordinating the
f i g u r e of the actor to the d e c o r a t i v e - d i r e c t o r i a l vision.
T h i n k i n g a l o n g similar linos w o r e the d i r e c t o r Karel
Hugo Hilar (1U85-I93!>, head of the National T h e a t r e in
Prague from 1021 1935) and his stage designer Vlastislav
I lol'man (IHH4 Iíhm), who w e r e practically and thooreti
cully assorting a sculptural conception of the figure of
the actor, although in this case u n d e r the b a n n e r of
expressionism In the spirit of clear-cut visual stylisation,
pooplo like Josef Cupok and Bedřich Feuerstein attempted
to create the figure of an actor with a costume and a mask.
As can bo seen, even if the puppet may e v o k e associa
l ions of childlike fragility, if became the focus of attention
of rebels and experimenters. As Craig and his predecessors
and successors had known, the puppol is not only an ideal
actor, bul the ideal, submissive and faithful " k e r n e l " of
the picture. For Ihe artist, it is also fascinating that the
puppol is capable of movement. Craig, Hilar and others
w o r e d i s c o n t e n t e d directors, T h e y w e r e of that b r e e d
which a t t e m p t s the impossible. ( A l l e g e d l y Hilar once
asked an actor to jump and stay for a while in mid air.)
Artists who return to Ihe puppet are not necessarily dis
satisfied, hut have a certain restlessness, a certain yearning to slip out of the g i v e n nature of their field at least,
for a while. II. is possible that e v e n those who sought in
the w o r l d of puppets a consoling c r a d l e or w e r e return
ing to such a well e x a m i n e d tradition, w e r e subject to
the temptation of the magical dimension of the puppet.
They w e r e and are humble o r stormy d e v o t e e s of idols.
They enjoy playing, basking in the fragrance and clay of
an unexplored cave.
Pre-Present Time
T h e attractiveness of puppets had the possibility of once
again establishing itself with o n g o i n g d e v e l o p m e n t s in
the visual arts after the Second World War. T h e loosening
of b o r d e r s b e t w e e n individual artistic fields of activity,
which since the 1960s has b e e n identifiable on a w o r l d
scale, took p l a c e in the p o w e r f u l l y and i d e o l o g i c a l l y
suppressed C z e c h culture, predominantly on the level of
12
the "underground", or else quietly and grudgingly tolerated as an eccentricity. T h e puppet (or its mutation) provided the possibility of communication with an "innocent"
partner, unburdened with i d e o l o g i c a l d e m a n d s , which
has its place in the tradition of C z e c h culture and in the
irrational world of f r e e imagination.
Jan S v a n k m a j e r (born 1934) is a representative of Czech
surrealism in the field of film and design. His study of
puppetry at Prague's theatre academy. D A M U . has been
an important influence on his work. S o m e of his animated and combined-technique films draw directly from the
world of puppets in t e r m s of their subject matter, portrayed in a historicising version, although through the
eyes of the surrealist seen as one of the archetypes of the
subconscious - for e x a m p l e in Lekce Faust ILesson Faust).
His tactile and other toys have the c h a r a c t e r of toys for
adults w h o g i v e vent to their obsessions by m e a n s of
playfulness, e.g. in the film Spiklenci slasti
(Conspirators
of Pleasure), and in his free creation.
František Vítek (1929) is an entirely different sort of character. He is a wood-carver who established himself as a
puppeteer, and whose attitude to wood, the wooden face,
the w o o d e n body, is as to personality. He b e h a v e s towards puppets as if they w e r e children, who certainly
need help but. at the same time, now have the right to
their own life. With his wife, Věra Ričařová, a puppet
performer, artist and director, he arranged performances
which w e r e bound up in tightly knit c e r e m o n y , w h e r e
g r o w n - u p d r e a m e r s as well as curious children join in.
thanks almost to a family initimacy. Vítek in his time was
e n g a g e d as a designer in the well known east Bohemian
puppet theatre DRAK. He combines the honour and modesty of the true puppet wood carver with the unlimited
imagination of Ihe f r e e artist
Milan Knížák (born 1940) is another man whose activities
reach into various art forms (painting, sculpture, fashion,
photography, poetry, music, happenings and so on). With
surprising piety by his standards, he has been concerned
with classical puppets by rural w o o d - c a r v e r s , both as a
theoretician and as a collector. In his work he sees a picturesquely "elaborated" toy as a product of the world between fantasy and banality.
Čestmír Suška (born 1952), is a sculptor and painter, recently working mostly with wood In his alternative designer's theatre Kolotoč ( M e r r y - g o - r o u n d - one of the
companies involved in Pražská pětka - the Prague Five),
he uses puppet-mannequins in the sense of a manipulated alter e g o (for e x a m p l e , in Panáci a vycpaňaci.
1982).
In this concept, the mannequin was manifest in several
stage designs for the drama stage in the 1970s and 1980s.
T h e "investigative" playfulness and the puppet theatre of
M e h e d a h a bv P e t r Nikl lb 1960) was w r i t t e n about in
Theatre 12/96 We may place Nikl in proximity to František
Skala junior (b. 1956). who is a m e m b e r of the same artistic e n s e m b l e T v r d o h l a v í , and is above all a sculptor In
addition to this he has made his own small puppet theatre
out of objets trouvés. making various beings out of wood,
(which brings Váchal to mind), to which in spue of partial
polychrome and applications of other materials, he leaves
in their shape and structure and in various "abnormalities"
the naturalness of the wood and a domestic allegiance to
a forest bestiary. He e v e n devotes an internal source of
light to s o m e m o d e l s in o r d e r to g i v e t h e m a b r i g h t e r
light on their path through the forest.
" U n d e r g r o u n d " acts and installations f r o m the 1960s to
1980s d r e w on the inspiration and the effects of the nontraditional e n v i r o n m e n t which was chosen for them or
into which they w e r e o r d e r e d . Artists animated the subject in space (landscape) in their performances. Objects
and sculptures installed in a revealing way g a v e the effect of actors, creating a situation by interaction with the
environment (e.g. the exhibition in the Lesser Town courtyards in 1981.) S o m e of t h e m literally r e m i n d o n e of the
objects of Kurt G e b a u e r and Michal Gabriel because of
their ironically buoyant p o l y c h r o m e work and g r o t e s q u e
portrayal of art. This relatedness of an object with an act
and a g a m e w e r e admittedly inspired by f o r e i g n trends
in art. But the specific C z e c h environment a d d e d its distinctive f l a v o u r of cunning irony (as a reaction to social
absurdity with a d e a d l y serious f a c e ) and the d e s i r e f o r
f r e e d o m of expression which was masked (and simulta
neouslv p r o v o k e d ) by a disguise of "infantile" playfulness
A g a i n , w e e n c o u n t e r h e r e the m o t i v e of "dissatisfaction"
which may be the impulse of an inclination towards the
world of the puppet. T h e desire born behind the barriers
of earth-bound circumstances is aimed towards an ideal,
devoid of human e r r o r s and foolishness.
Invasion triomphale de marionnette
en Bohéme
L
e theatre do marionnettes en tan I qu'activito proless i o n n e l l e a r r i v a d a n s n o i r e pays, aprtVs la g u e r r e
d e t r e n t e ans (1618 1648), a v o c d e s t r o u p e s anglalsos,
a l l e m a n d e s et italiennes dont le materiel humain d ó c i m ó
par la g u e r r e fut r e m p l a c e en tout, ou partie par d e pel its
acteurs mécaniques. C e l t o pratique d o substitution qui
perdura en fail jusqu'a la renaissance
de la
niarionnctte
de la fm du XIX*'/ debul du XX 1 ' siftclo, rologua le theatre
de m a r i o n n e t t e s en m a r g e des aetivitós artlsllquQS oil
il d e v i n t c e p e n d a n l p o p u l a i r o on tant q u e d i s t r a c t i o n
accessible tl un large public.
V e r s la fin du XVIII"slCiclo, los t r o u p e s a m b u l a n t e s
é l r a n g ě r e s sent r o m p l a c ó e s p a r d e s m a r l o n n o t l i s l o s
tchoquos. Parcourant los c a m p a g n o s avoc lours marion
noiies, les families do marionnol istos gugnonl m o d o s l o
ment lour pain en conlirmanl, on mOmo lumps, rapl.il.iulo
d e la l a n g u o t c h ó q u o i\ assuinor la Ibnefion do Innguo
culturolle. Jusqu'a la p r e m i e r e nioltlo du X I X " n k V l o , cos
Ihóalres I'amiliaux son I. accuolllls avoc sympathlo o I, gru
titudo par un public principalomont populairo. Pur lour
rapport original mix elTorls óduoatifs ils contrlbuonl, h In
renaissance nutionule (cheque. Cos murionnoU,Isles cI<> la
renaissance nationale seront, dans la douxltimo inoll.ló du
Josef Váchal. Illustration
for Josef Simáneks poem
7bc Trai cls of Little lilf,
Prague 1911
Photo Viktor Kronhciuer
13
XIX'' skVlo d'ubord parodies par los inlollectuols. puis
smcoroment applaudis a I'opoquo do la renaissance do la
marionnciw Umimoo, olio aussi. par los intollectuels) lis
dovinront uno lógendo qui. grace a son caractórv idylliquo.
no pouvail qu'offlouror los vivants. Cost Matěj Kopocky
(1775 UM7) qui porsonnifio cot to logondo ot ost le symbolo du colobro thoátro do marionnottos do I'opoquo do
la renaissance nationale. 11 travaillait avec sa famille
dans lo Sud do la Bohomo; cotto region, connuo pour sos
families de marionnettistos ot lours riches activités. avail
son pendant au piod dos monts dos Goants. dans lo Nord
14
do la Bohéme (los Sucharda. famille de sculpteurs sur bois
do Nova Paka)
Légende et inspiration
La popularisation de cette legende ainsi que la forme
qu elle prit est 1'ceuvre d un homme issu de la méme
region que la famille Kopecký, un rejeton tardif. mais
tros populaire de la renaissance nationale Mikoláš Aleš
11852 - 1913). dessinateur. caricaturiste. peintre. auteur
do lunettes pour lo Theátre National de Prague i cycle la
Porno), auteur de fresques et de sgraffites qui decorent
15
dona Quijota - I'Assagissemenl de don Quích/Ale au Městské
divadlo na Královských Vinohradech 1914, míse en scěne
František Zavřel). Le caractěre general de ces décors est,
m é m e pour son époque, un compromis trés raisonnable
et modéré. II y a néanmoíns une exception, tolérée, sans
doute, du fait qu'il s'agil de représenter un univers effroyable, celu i de 1'Enfer. Le critique du quotidien Národní
listy constate: « C e t e n f e r est original bien que notre
idóe ďun enter thóátral féérique soil un peu difference dróle, ďune certaine íá<?on. On sail bien que les damnés
y sou (Trent, mais les figurines de diables comiques
rondonl, celte souffrance supportable, voire naturelle...»
Son collógue du journal Národní politika, manil'estemenl
IroubJó, poussa un soupir limido: «Je ne sais pas si le
pauvro Guignol n'aura pas le cw;ur serré au milieu
de toul,os cos chaudlóros chaufíóes au rouge, parmi ces
péchours gómlssants, cos membres cassés, devant ce tas
de cranes blanchis. F,t il est pourlant Ires courageux.»
sujet le théátre de m a r i o n n e t t e s parues dans la r e v u e
Český loutkář (Marionnettiste
tcheque). Ces travaux sur
bois étaíent a c c o m p a g n é s de scenes p i t t o r e s q u e s d e
marionnettes tirées, prétendument, de la production de
marionnettistes populaires. Parmi ces marionnettes taillées
Obsession de marionnette
Col, Fnlbr cauchomar ďune ámo coupablo et Lourmentée
doni la substance fragile) est guoltóe par des fantómes lul, cróó par Josef' Váchal (1 Wi4 1909), artisto á talents
multiples of ami de Veselý qu'il aida ti. arranger la collec
lion do diablos pour la promióro exposition de marion
notles íi Prague on 1011.
Josof Váchal ótall; lo fils naturel do Josef Aleš Lyžec,
instifuLeur palriolo, propagateur du ski ot cousin clu
cólůbro «artisto national» Mikoláš Aleš: el. si los paronts
cle Váchal avaionl. ófó marlós, co dornlor aurail, ógalemont
portó lo nom ď A l o š . Váchal est entré dans I'histoire
du ItiófUro do marion notles au cours d'un episode prosque
nógllgoablo ot 11 no somblo pus qu'il I'ait inlluoncó de fagon
dlrocl,o el, imporlanlo Involution ullórieure du genre.
Son esprit inqulol,, atllró par lo spiritisme, l'ésolérismo,
10 salunlsmo mais tuussi par (los genres inarginaux tels
quo les chansons clo Ibiro on lo roman noir, osl nóanmoins
si proclto du mondo do la marionnetlo - co morceau clo bois
tmimó pouvanl. devenir aussi bien un jouol abandonné
qu'uno idole vónóróe qu'il nous parail utile non seulemont
clo lo montlonnor mais cle lo soulignor. C e porsonnago,
íl l opposó do son onclo Mikoláš, ótait non seulemenl.
móprisó par lo régime communisto, mais labouisé comme
porleur ď u n e contagion ď u n art denature, A 1'exception
ď u n e l,ri\s courlo periodo clo «dógel» dans les annóes no,
11 n'tt jamais róussi, au cours do sa c a r r i ó r e ď a r t i s t e ,
i\ s'imposer. Plus tard, a partir des annóes 1980, il devint
prosqu'uno mode, ayant ďabord un gout du IVuit défendu.
Los paisibles times Iruditionnalistos lo trouvaient trop
déchirant ot trop agressif, los programmes des courants
modernos, trop dochira.nl ot, do plus, volontairomont
archaiquo. 11 ótait original au sens extreme du mot. Sauf
un court episode do participation a I'association do symbolistes SURSUM tou il amena Veselý comme théoricien),
Váchal fut un solitaire social et artistique, misanthrope
concentre uniquoment a ses propres visions. Ses contacts
avoc le mondo des marionnettes datent du debut de sa
carrióre oil il etait capable ot pret a sortir de son univers
dójá original et rude pour «communiquer». A part les decors de 1 enfer, il a fabriquó pour son ami Veselý plusieurs
marionnettes destinées plutót a enrichir la collection de
I'historion et a ótre exposóes. Les motifs caractéristiques
du theatre de marionnettes c o m m e Faust et le diable
apparaissent ógalemont dans ses xylographies ayant pour
16
vers 1911, on trouve la figurine du G n o m e . 11 s'agit de la
sculpture d'un petit ótre fantasque aux m e m b r e s déformés qui ne pouvait se mouvoir qu'avec difficulté. Plutót
qu'uno marionnette proprement dite e'est un symbole de
marionnette - un ótre mystérieux en bois. La raison qui
a a m e n é Veselý á a b o r d e r Váchal, peu c o m m u n i c a t i f .
ótait. entre autres. le rapport intime liant cet h o m m e
universel au bois. Dans les e n c y c l o p é d i e s , le nom d e
Váchal est a c c o m p a g n é de toute une série ď a c t i v i t é s :
pointre, graphiste (xylographie. xyloglyphie. linogravure.
gravure sur liege, gravure á l'eau forte, etc.). sculpteur
sur bois, typographe. relieur. écrivain. On peut constater
que pour Váchal le travail du bois ótait primordial Pour
ses livres volumineux qui paraissaient en quelques
exemplaires seulement. il créait. principalement par la
methode de xylographie. non seulement des illustrations
mais aussi des caractěres gothisants. Un de ses critiques
constate qu'il gravait tout ce qui lui tombait sous la main.
II sculptaii non seulement des statuettes, mais aussi des
pipes, des Cannes ou des p r e s s e - p a p i e r s . il gravait ses
meubles et ceux de ses amis. Sur les meubles de son mécěne
Josef Portman de Litomyšl, il a g r a v é un é p o u v a n t a b l e
sabbat de petites créatures dont le regard empeche le
plus grand dormeur de fermer l'oeil.
A premiére vue, il n'v a pas d'affinite artistique entre
Váchal et son oncle Aleš. Mais essayons d'examiner leurs
rapports de plus prés. Váchal éprouvait peu d'aflection
pour son pere. Parcontre, il estimait Mikoláš Aleš, son
oncle. lui rendait visitě á lui et á sa famille et s'amusait
bien en sa compagnie. Dans les mémoires hargneuses
(Paměti) écrites par un Váchal sarcastique et déjá aigri.
Aleš est une des rares personnes dont il parle favorablement et avec une certaine chaleur. Lour univers artistique,
á tous les deux, était abondamment peuplě d'un ensemble
de personnages plus ou moins fixe, et la construction
systématique de cet univers leur permettait de charmer
et de fasciner - l'un á 1'échelle des masses, l'autre á
1'échelle individuelle. Mais un peuploment si dense
qu'il soit n'arrive pas á couvrir toute la surface. Lá oil
il n'y a pas de figure, ils comblent d'un ornemont. ou de
texte, ce qui n'est pas sons rappeller 1'horreur oriental©
du vide. En fait, il s'agit de la tendance l'Art nouveau
de l'opoquo, qui ótait. d'orner et do dócorer, chacun A sa
manióiv, tous les ivcoins de la vie. Fiděles A colto tendance,
Váchal et Aleš infiuen^aiont lo domaine des objots courants. Si la stylisation artistique Art nouveau (goOl pour
1'ornement. expression suporficiollo et linóalre) hit anticipóe par Aleš, pour Váchal olio eonstituait lo point de
depart. Mais oho/ l'un comme choz. l'autro, c'ost l'individualite qui 1'emporto sur le stylo.
Les personnages d'AloS, bien qu idóaltsós ou lógóromont
caricatures, viennent du mondo des vivants, Ceux do
Váchal viennent du mondo des osprits ot memo s'il
y a des hommes, ceux-cl «souflVent» d'line deformation
Jan Svankmajer. Aiulro^yne,
marionnette. 1990
Photo archives
17
d'oxprossion causóo par urn1 possession diaboliquo ou
somnambulosquo. AloS otait partisan dos idóaux do la
Ronaissanco. Váchal, lui, no supportait pas la modoration
do la Ronaissanco ot ponchait vors lo gothiquo ot lo mys
ticisnio du baroque. Alos était 1'artisto du jour. \achal
colui do la nuit. l.o rapport ontro Aloš ot los niarionnottos
avait uno orientation ťolkloriquo ot idealisto, Váchal
onvisageait la marionnotto du point do vuo du spiritisme,
comme un otre do 1'autro mondo. Sa marionnotto protoroo était. sans douto, le diablo On retrouve celui ci dans
sos gravures, sos oaux fortes, sos pointuros. Solon ses
propivs diros. los ivtloxions sur co phonomono l occupaiont
do jour ot do nuit depuis sa prime jeunesse ton tant
18
qu'appronti il dessinait déjá des diables). II prenait ce
sujet au sérieux m é m e s il y ajoutait sa propre gi'imace
sarcastique. Dans une do ses gravures coloriées. intitulée
lo Menage ďun xylographe (in Orbis pictus 1932). il se
r e p r é s e n t e lui-méme en train ď e x é c u t e r une g r a v u r e
«quo le diablo en personne i m p r i m e sous la presse de
V á c h a l . e n somme un rapport de c o n f r ě r e n e et m é m e
ďanutié. Pour Váchal, 1'univers des étres. des animaux
et dos choses surnaturels etait une alternative du monde
dos hommes ou il no se sentait pas trěs á 1'aise. Dans son
interpretation, les personnages «non humains». y compris los morts. apparaissent plus vivants (et parfois plus
colorés) que les vrais vivants lRěve d un mon 1918). A ce
sujet, il est intéressant de rappeler un passage de 1'essai
d'Edward Gordon C r a i g L'acteur et la
surmarionnette
(1908): -Je trouve les fantómes plus beaux et plus pleins
de vie que les hommes et les femmes... On ne peut
puiser i'inspiration dans quelque chose qui est přivé du
soleil de la vie. Mais dans cet univers mystérieux, gai et
sunout plein de vie que l'on appelle la mort - dans cette
vie d'ombres et de formes inconnues qui n est pourtant
pas que ténébres et brouillards..., mais aussi couleurs
vives, lumiěre vive, formes claires. distinctes...».
La marionnette et I'avant-garde artistique
La d e u x i é m e exposition de marionnettes, organisée
encore grace á Veselý en 1921 1922, ne fut pas seulement
une retrospective comme ďétait le cas de l'exposition de
1911, mais aussi une revue de tendances et d'inspirations
nouvelles. Toutefois, selon les critiques, le plus grand
succěs de l'exposition fut une collection de diables
congus plutót -á 1'ancienne», ou celui do Váchal occupait
une juste place. Les rapporteurs de l'exposition se
demanderent en quoi consistait 1'essentiel de la marionnette; pourquoi l'acteur pouvait mimer la marionnette,
mais que celle-ci ne pouvait pas imiter l'acteur; en quoi
consistait l'erreur des décors réalistes, etc. Finalement,
on raisonnait en Bohéme, sur la marionette dans le
contexte du XX' siecle. Le public examina avec une grande
attention les těles expressionnistes grimagantes cróées
par Josef Skupa pour des marionnettes á gant. On
accueillit favorablement le modernisme m o d é r é des
projets de decors pour les theatres de marionnettes,
dessinés par Ladislav Sutnar (1897 - 1970), graphiste,
dessinateur industriel, architecte ďintérieur et d'expositions et scénographe. Sutnar s'occupait systémaliquoment de marionnettes et grace á cela, il savait adaptor
ses vues esthétiques et sa conception artistique modernisté aux besoms des théátres de marionnettes familiaux
et scolaires orienlés vers la perception de l'enfant spectateur et metteur en scene. Les nombreuses activités de
Sutnar comprenaient également des projets de jouets en
bois dessinés pour Artel (1908 - 1934), association d'artistes
de plusieurs domaines des Arts appliques, qui conformémenl
aux tendances de l'Art nouveau, cherchaient á améliorer
le niveau artistique des objets courants selon 1'esthétique
modeme des beaux-arts. Au cours de sa vingtaine d'annees
d'existence, cette association a évolué du cubisme au
fonctionnalisme en passant par le rondocubisme décoratif.
Le magasin d ' A r t e l vendait toule sorte de produits bijouterie, souvenirs, verre, céramique, meubles. Mais on
y trouvait aussi des jouets et des marionnettes s'inspiranl
de la conception simple du jouet populaire.
Les critiques qui mentionněrent la participation de 1'architecte Jiri Kroha á la deuxiéme exposition de marionnettes,
émirent des jugement embarrasés sinon peu flatteurs:
«...ce désagréable esprit de l'expressionnisme allemand
se traduit dans le «théátre des choses» qui est un projet
trop littéraire - trop fictif...» (Stráž čsl.
socialismu).
Kroha était sans doute le seul parmi les exposants a avoir
franchement provoqué. A part ses marionnettes plates que
la critique n'a pas trouvées «sympathiques», il exposait
le Chevalier en boítes de conserves, la Měre des marmites,
Monsieur Petiteboite ainsi que d'autres représentants du
'théátre des choses». Comme chez Váchal. cette incursion
de Kroha dans le théátre de marionnettes est épisodique.
Ni l un ni l'autre n'ont d'influence directe sur le genre.
mais la liaison de lour individualitě cróatrico avoc la
marionnette est forte ot symptomatique. Lours points de
depart sent cependant diamótralemonl opposes. Váchal
est un magicien plongó dans les profondours du passó.
Kroha est un partisan et un p r o m o t e u r de courants
ďavant garde dans lour Ibrmos tranchóos (en ('architecture, il est passe du cubofuturismo au purlsme militant.).
Bien quo son nom puisse ótre accompagné do plusieurs
allributs peintre, sculpleur, scénographe, théoricion
son centre ďintóról ot ďaetivitó esl rarchit.ecl.uro. Sos
efflouremonts avoc lo mondo des marionnottos sent liós
a un episode plus connu de sa vie, í> son travail do scénog r a p h e dans les annóes 1921 1923, Ses projets seóno
graphiques marques par un extremisme ulopiquo n'ont,
ótó realises qu'en parlie et. au prix do certains compromi.s
ou bien ils oni ótó abandonnós. Malgró cela, Kroha s'osl.
inserit dans 1'histoiro do la scótiographlo tchéquo moderno.
Et plus court, est le sillon qu'il a Irncó, plus prol'ond est il.
Sa conception du thóáfro est diroclomoiil lióe nu phóno
mono de la marionnette. On y volt., on olTot, la poursullo
du rove do Craig do la surmarionnollo, mais dópourvuo
du symbolisme liltóraire ot spiril uel, Iranslbrmóo selon
les principos do Inbsl ruction dóporsonnallsóe tlos 1'ul.u
risles italiens (Forilinulo Deporo) el du Buuhuus ullomund
(Oscar Schlemmor), Dans lo style, Kroha, «'ollbrgull, d'obtenlr
une unitě absoluo do la sečmo ot do I'acloiir qui rompllsso,
suns rópliquo el sans orrour humaino, son rolo do com
posanto plastlquo mobile, ďólómonl, de construction
d uno architocturo dynamlsóo. Sos exigences vis il vis do
la scéno portalont on m é m o temps sur I'oxproBHion ot
sur lo mouvomonl. II s'agll do la premiéro vision do Ih
scéno cinótique dans lo thóíitro dramuliquo tchéquo, qui,
toutefois, n'a pas pu ótre uccoptóo par la scéno oíficlollo
á causo do rintransigoimco do sil conception supposant la
maítrise absoluo el. la soumission do 1'ucLour. lín ol'l'ot,
Kroha a ossayó do róulisor sos prlcipalos concoptlons
scénographiques au Thóálro National do Prague (Arnoňt
Dvořák - Ladislav Klíma; Matěj poctivý
Mal.hi.as la prolití
1922, mise en scéno Vojta Novák) tiL au Théátre Švandu
de Smíchov (Christian Dietrich Grabbo; HaiUerie, satira,
ironie et signification cacháe, 1922, mis on scéno par Jun
Bor), done dans deux théátres plus on moins officio!,s.
(Aprěs la 2''guerre mondiale, la conception cinóliquo do
la scene est développéo, avoc des moyons techniques
modernes, par Josef Svoboda,)
En eífet, ce n'ótait pas la premiéro vision I,cheque cherchunl
a soumettre le personnage de l'acteur á la conception do la
scénographie et de la mise en scéno. C é f a i l ógalemont
l'idée de Karel Hugo I iilar (1885 1935, chef de la section
dramatique du Théátre National de Prague dans los
annóes 1921-35) et de son scénographe Vlastislav Hofman
(IBří4 - 196-1). Tous deux préchaient, en théorie, en
pratique et au norn de Texpressionismo, une conception
sculplurale du personnage de 1'acleur. Josef Čapek
et Bedřich Feuerstein, pour souligner la stylisafíon
scénographique, chercherent ógalernent á fagonner
le personnage de l'acteur par le costume el le masque.
On voit que la marionnette qui est susceptible ď é v o q u e r
des associations de fragilitě enfantine peut aussi bien
devenir le r e f u g e de rebelles et ď e x p é r i m e n t a t e u r s .
Les prédécesseurs ainsi que les successeurs de Craig
savaient bien que la marionnette était non seulement un
acteur ideal rnais aussi un --noyau» ideal de I'image, docile
19
et fiděle. Et pour J'artiste, un objet řascínant puisque
capable de mouvement. Craig, Hilar et ďautres étaient
des metteurs en scěne mécontents. JIs étaient de ceux
qui cherchent á obtenir I'impossible (Hilar aurait demandé
á un acteur de sauter et de re ster, pendant un moment,
immobile dans 1'aír). Les artistes qui se tournent vers la
marionnette ne sont pas nécessairement «mécontents»,
mais on peut voir chez eux une sortě ďínquiétude, une
sortě de dósir ď é c h a p p o r un instant aux contraíntes de
lour genre, Peut-ótre ceux qui, dans le rnonde des marion
nottes, cherchaiont un borceau réconfortant ou une
tradition róvóróo, ont ils succombó á la dimension magique
du phónomóne do la maríonnotte, C é t a i e n t ot ce sont
dos adoratours humbles ou fouguoux d'idolos. Ils aimenl
jouor, Ils růvont do 1'odeur ot de la torre ď u n e grotte
inexploróo.
Le passé récent
Lo dóvoloppomont dos arts plastiques aprós la 2°guerre
mondlalo a pormls á la marionnotto do ('aire valoir tout
son atLralt, Dopuis los annóes 00 se láisait sentir dans
lo mondo ontlor un certain olíacomont dos Irontiéros
sóparant los dilíóronts genres, qui se déroulait dans la
vio culturollo tchóquo opprimóo polltiquemont ot idóolo
giquemont, surtout au niveau do 1'underground ou do
Foxcontrlcltó tolóróo tacitomont ot avec rancuno, La
marionnotto (ou sa mutation) a pormis do communiquer
avec un partonairo «innocent», IVanc ďobligations idóolo
glquos, qui a uno place formo dans la tradition do la cul
ture tchóquo alnsi quo dans lo mondo irratlonnel
dos Idóos affranchlos.
Jan Svankmajor (nó on l»:M), roprósontant du surróa
lišme tchóquo dans lo domaino dos arts plastiques ot
du cinóma, fit sos ótudos do thóútro clu marionnettes
á 1'Acadómio dos Arts Dramatlquos do Prague co qui
n'esl. pas sans importance pour son oouvro. Cortains do
sos films animés ou combines pulsont lours thómos
dlroctomont dans lo mondo clos marionnottes qui sont
roprósontóos dans uno version historisanto ot vuos par
un surróallste comma a r c h e t y p e du subconscient
(cf, Lekce Faust). Los objets tactilos el, los au Ires objots
qu'll a imagines ont, lo caractěro do jouots pour los adull.es
i\ qui lo jou pormol, do noutralisur dos obsessions refouléos
(cf, lo film Spiklenci slasti
les Conjures du plaisir,
ógaloment creation libro),
František Vftok est un personnage radicalomont diiTórent.
En tant quo sculpt,our sur bois qui s'ost fait connaitre
comme marionnettiste, il abordo lo bois, lo visage ou lo
corps on bois commo un individu. II so com porte avec la
marionnotto c o m m e si c'otail un enfant qui a besoin
d'aide mais qui, á la fois, a lo droit a sa propre vie. Los
spectacles qu'il organise avec sa femmo Věra
fiiřařová.
marionnettiste, artiste ot motteur en scone, sont dos rituels
intimes dont 1'ambianco quasi familialo est partagée par
des róveurs adull.es et dos enfants curioux. Vitek qui autrefois avait travailló c o m m e s c ó n o g r a p h e du theatre de
marionnettes DRAK, thóátre réputé siogoant on Bohéme
de 1'Est, róunit la probité ot la modestie ď u n vra i sculpteur de marionnettes ot la fantaisie illimitée ď u n artisto.
Milan Knížák (né on HMO) est également un personnage
dont les activités débordent sur plusieurs domaines do l'art
(peinture, sculpture, mode, photographio. poésie. musique.
20
happening, etc.). Avec une piété peu habituelle chez lui,
il collectionne les marionnettes classiques d'artisans
campagnards et fait des recherches dans ce domaine.
Dans son oeuvre, il congoit le jouet pittoresquement choisi
et «traité», comme un produit ď u n univers intermédiaire
entre la fantaisie et la banalitě.
Čestmír Suška (1052), sculpteur et peintre travaillant,
ces derniers temps, principalement avec le bois, utilisait
dans son théátre le Kolotoč (un des ensembles du Cinq
de Prague - Pražská pětka) un pantin personnifiant un
alter ego manipulé (cf. Panáci a vycpaňáci, 1982). Dans la
m é m e conception, le mannequin apparait é g a l e m e n t
dans la s c é n o g r a p h i e de certaines piěces de théátre
des années 70-80.
Les «recherches badines» et le théátre de marionnettes
Mehedaha de Petr Nikl font l'objet ď u n article de notre
revue (Théátre 12/96). P r o c h e de Nikl, on peut situer
František Skála junior (1956), membre du m é m e groupe
ďartistes Tvrdohlaví (les Obstinés) et avant tout sculpteur.
C e dernier construisit un théátre de marionnettes avec
des morceaux de bois de formes pittoresques. Le bois lui
sorvait á fabriquer des créatures variées (ce qui nous fait
penser á Váchal). A part une polychromie partielle et des
ajouts ďautres matériaux, il laisse aux morceaux de bois
lour forme, leur structure et leurs anomalies nalurelles
qui les pródostinent á appartenir au bestiaire de la forét.
II en dote m é m e cortains ď u n é c l a i r a g e interne afin
qu'ils puissenl éclairer en marchant dans la forét.
Les spectacles et les installations « u n d e r g r o u n d » des
années 60 - 80 devaient leur inspiration et leur effet au
milieu non traclitionnol que les organisateurs avaient
choisi ou qu'on avaient officiellement choisi pour eux.
Parfois, les performances plastiques étaient basées sur
I'animation do l'objet dans l'espace ou dans le paysage.
Des objets ot des sculptures installés ď u n e maniěre
inédite donnaient 1'illusion cl actours créant une situation
dans l'interaction a v e c le milieu (cf. 1'exposition Malo
stranské dvorky - les Cours du quartier de Malá Strana
1981). Gráce á leur polychromie pétulante et leur r e p r e sentation grotesque, certains do ces objets rappelaient
l i t t é r a l e m e n t une m a r i o n n e t t e (cf. les objets de Kurt
Gebauer, do Michal Gabriel). S'il est vrai que cette affinité do l'objet plastique avec Faction, le jeu, s'est inspiróo do courants artistiques étrangers, l'environnement
spécifique tchěque lui a donné un gout original d'ironie
surnoise (on réagissait á la réalité sociále avec une figure
g r a v e et immobile...) et de désir de liberie d'expression
qui so dissimulait, tout en provoquant, sous le masque de
-badinage infantile». Nous voilá encore en présence du
motif de mécontentement qui fait que l 'on pencha vers
la marionnette. Co désir qui est né d e r r i ě r e l'enceinte
ď u n e condition torre á terre visait un ídéal affranchi
d'erreui"s et de folies humaines.
T
he Czech itinerant marionette theatre, which in its
time carried out an important social mission of
being the only Czech professional theatre, has since
around the 1950s been losing its original function, stagnating. suffering a decline in audiences and gradually
disappearing. Most of the professional puppeteers have
been incapable of overcoming ancestral traditions and
adapting to new social, political and artistic circumstances.
The means of expression of their type of theatre were
alien to those who w e r e d e m a n d i n g realism and modernism. Puppets and stage w e r e marked by a fixed conception. Their unaltered style of production unwittingly,
it is true, inclined to the symbolic nature of puppet theatre,
but basically they imitated the theatre of living actors.
Nevertheless, productions by itinerant puppeteers wore
still able to survive in a dejected form alongside new ten-
21
the Czech lands. Four of them were of substantial significance for the development of Czech puppet theatre due
to their exceptionally high standard. These w e r e the
Divadlo Feriálních osad ( " s u m m e r camp t h e a t r e " ) in
Pilsen, the Umělecká loutková scéna (Art Puppet Stage)
in Prague and the Říše loutek (Realm of Puppets)
in Prague.
donclos for I,ho Rrsl, thirty yoars of this century, Itinerant
puppet I,hoal.ro has fixed certain used conventions in the
consciousness of tho ontlro nation by moans of its conside r a b l e popularity and established the technique of
puppetry for a I,tmo almost as king as the canon. And
this has occurred in spite of the fact that in the llltlOs in
I,ho Czech lands thoro wore attempts to parody traditional
puppet theatre in many creative genres, mainly its
primitiva plays and tho lofty stylo of acting,
Tho reform m o v e m e n t which occurred in tho context of
tho development of amateur puppet theatre at the end of
the nineteenth century brought tt chango in the repertoire,
with moro varied subject matter of a higher quality. Tho
nature of tho theatre itself h o w e v e r did not basically
change: il remained loyal to the marionette and to the
baroque form of proscenium staging with back drop,
wings, borders and front curtain. A m a l o u r association
and school puppet, theatres came into being, which usually started off by taking over the stock of a professional
puppeteer who was closing down. They were exclusively
aimed at children, and one of their characteristics was
a tendency to instruct, and educate. The founders w e r e
mostly the branches of the national Sokol organisation
tone of tho first; Sokol theatres came into being in liVM in
Kouřim), and later the Workers' Physical Training Union
and the Roman Catholic physical education organisation,
Orel (set up to counterbalance t he popularity of Sokol).
People such as Ludmila Tesařová and František Hauser
m a d e a serious attempt, to use puppet theatre as an
instrument of education. Important cultural impulses
of the time reinforced a conservative concept of style for
the mass d e v e l o p m e n t of the a m a t e u r puppet theatre,
including for e x a m p l e the Ethnographic Czechoslovak
Exhibition in Prague in 1895, the anniversary celebrations
of the birth of Matěj Kopecký in 1905, and especially the
Exhibition of Puppet ry at Prague's Ethnographic Museum
in 1911 and Arnoštka Kopeck a's performances in Prague's
Merkur (Mercury Theatre) in 1912 and 1913. In the 1920s
hundreds of association and school theatres existed in
22
Domestic puppet theatre as a special phenomenon within
the history of puppet theatre developed concurently with
amateur puppet theatre. In the Czech lands it attained
popularity and was w i d e s p r e a d T h e e x c e p t i o n a l preoccupation with miniature 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 g e n e r a l romantic popularity of the theatre a m o n g
the middle classes in the era of Biedermeierstil. Theatres
were sold in the form of reproduced sheets of coloured
wood e n g r a v i n g s 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 a successful production that was
running at the time, together with the characters. The
publication was usually linked to the premiere. The first
such theatres tended to have a merely decorative function.
Later the sheets w e r e supplemented by directions on
how to put them together, with the texts of a variety of
different plays and instructions on how to 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. Whilst
in surrounding lands, domestic puppet theatres remained
the privilege of the nobility and the middle classes, in the
Czech lands they gradually became widespread among
the populace at large. The earliest factory products of
this kind came from Germany, Austria and France. The
names of companies making them included Mattháus
und Josef Trentsensky in Vienna 1 , Gustav Kiihn of NeuRuppin, O e h m i g k e & R i e m s c h n e i d e r of Neu-Ruppin.
Robrahn & Co. of Magdeburg. J. F. Schreiber of Essiingen.
J. Schol/. of Mainz and Mon Théátre of Paris Germany
produced most of them There were about fifty publishing
houses in existence which specialised in producing the
theatres in German speaking territories. The products of
individual companies varied in quality. One may encounter
naive, tasteless works made of poor quality paper, but
many products are perfect in terms of their formation
and reproduction. Generally, such theatres are marked
by a d e e p space between the proscenium arch and the
back drop, several rows of wings often connected by
borders, a realistically portrayed concept of stage sets
filled to bursting point with imposing exterior and interior
architecture in perspective, together with landscape
scenery and a great deal of unnecessary detail including
painted furniture, etc.Domestic theatres w e r e produced and created even in
homes, as a rule thanks to an outstanding artistic personality in the family, w h o at times would get involved in
serial production. In this way, for example, the grandiose
theatre of the Scheiner brothers from Dr Josef Schemer's
family originated in Prague. Artuš Scheiner. a painter,
created the proscenium arch, the front-curtain and the
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 J R Vilímek. 3 In 1910:the
sculptor Hanuš Folkman made a theatre for his children
with carved puppets after his own designs. This stock became the basis of the well-known theatre Art Education
Theatre. Folkman also made the models for the heads of
puppets produced in series for the company Modrý & Žanda
and designed the costumes for them. A whole series of
similar examples could also be mentioned. These artists
were in fact the only professionals (in the sense of being
qualified) who had a part in the formation and development of amateur and domestic puppet theatre. The level
of its design, therefore, exceeded the other elements
many times over and in the end determined the style.
The earliest Czech scenery of small format (with a background of 30 x 21 cm) was issued in 189-1 by the publishing
house Nakladatelství J. R Vilímek in the series Knihovna
Malého čtenáře (the Small Reader's Library). It concerned
four sheets with proscenium arch and a set with a village
square and two-dimensional figures for the play Pan Franc
ze zámku (Mr Franc of the Manor House). T h e y w e r e
printed in black and white with the instruction "to be cut
out and painted". Their m a k e r was Karel Stapfer. Almost
all the c o p i e s of this p i e c e , h o w e v e r , w e r e burnt m a
small collection of sculpted movable puppets (3t5 cm in
height), which h o w e v e r did not g o on to b e p r o d u c e d .
Karel Kobrle succeeded, on the other hand wit h smaller
puppets of size 25 cm based on Alo.Vs pictures. They w e r e
an outstanding example of a designer's creation, Tho Prague
company of Antonín Milnzborg caught on to thorn and in
1912 the first s e r i e s wont on sale at S p r i n g e r ' s Č e s k é
lidové knihkupectví (Czech Popular Bookshop). Tho dis
p r o p o r t i o n b e t w e e n tho head and body of tho puppets
was interesting in that it gave them a specifically humorous
expression, and distinctive also was their concise modelling
and careful attention to costume. Thoy b e c a m e known as
A l e š s puppets. By tho end of into, o v e r eighty types of
such puppets w e r e in existence.
Zdeněk Woidner made tho first Czech theatre (consisting
of a proscenium arch and scenes for AleS's puppets) In
1912, based on designs by Rudolf Livora made by sticking
coloured papers on to canvas. Complicated technology
and high costs, however, rendered serial production iai
possible. Only some copies wore made."Some elements
of this theatre, for example tho shallow space and tho
evocative stylisation, indicated a certain sconographlc
Anns Schciner's P u / í / w I Iheativ
Publishing House J. R. Vilímek
I'ralia 1930 Moravian Museum
Brno
Photo Miloš l hlfř
fire at Vilimek's warehouse and a new edition did not
materialise.1 The Czech Association of the Friends of
Puppet Theatre, which was founded in 1911, stimulated
and supported the idea of creating and manufacturing a
purely Czech domestic puppet theatre that could compete
with products from abroad. Mikoláš Aleš. a painter, was
also a member of the Association. Puppetry motifs occupied
an important position in his work. His pictures became
the models of the first Czech series of manufactured
puppets. In 1912, with Ales's agreement, Josef Sejnost, a
sculptor, made the models for the Association of the first
r e f o r m in this area. An effort towards this was also made
by the authors of Dekorace českých umělců (Scenery by
Czech Artists). A . Vítek issued the first s e r i e s in 1913.
This consisted of six- to nine- colour lithographs m a d e by
the A c a d e m y p a i n t e r Jaroslav P r o c h á z k a a f t e r designs
by Czech professional artists. The now proscenium arch,
drapes, borders, front curtain and one of the scone-changes w e r e m a d e by František Kysela, while tho designers
of the r e m a i n i n g items of s c e n e r y w e r e A d o l f Kašpar,
•Jaroslav Panuška, Josef Wenig, Jaroslav Procházka, Ota
B u b e n í č e k and S t a n i s l a v L o l e k . For its high artistic
standard, this series of stage sets won an award at the
World Exhibition of Prints in L e i p z i g . From an artistic
point of view, the superb individual proscenium theatre
by František Kysela, conceived in a cubist style, is one of
the best to have been produced in the field. T h e Antonín
M u n z b e r g company offered three successive high-quality
series of printed scenes. T h e lirm Petrus (later M o d r ý &
Žanda, and finally M a r i e Písařova with copyright on the
brand n a m e " M a r l o n " ) also o f f e r e d a series. A f t e r 1919
the c o m p a n y .JEKÁ (Jan and Eliška K r á l ) w e r e also
p r i n t i n g these s t a g e sets. All these c o m p a n i e s w e r e
based in Prague, although JEKA m o v e d their base Lo
M í ř e t i c e in 1925. Later d e s i g n e r s included Ferdinand
P r o k o p , M a r y n a A lošová-,Svobodová, J o s e f Váchal,
Ferdinand Kngelmuller, Jaroslav Kvót, Ladislav Novák,
Max Boháč, Bohumil Vágner, Josef Skupa, Karel Stapfer,
Vil Skála, Ladislav Sutnar and A l o i s K a l v o d a . O v e r a l l ,
nine signed and ono unsigned series of o v e r 130 sheets
of scenery and eight.sheels of proscenium arches w e r e
printed in tho f o r m a t of Scenery by Czech Artists. T h e
dimensions of the back d r o p s w e r e 72 x 45 cm with the
width of the wings at 25 em. Apart from the specific Czech
c h a r a c t e r and high artistic standard, these stage sets
brought with them simplification and "ventilation". T h e
age old system of many pairs of wings and a large number
of borders limiting tho movement of the puppots throughout
the depth of the stage, was r e d u c e d to a single b o r d e r
and one or two pairs of wings. Tho deliverance from false
perspectives and superfluous detail, especially the painted
supplementary elements of the interior, is clear A problem
o c c u r r e d in combining individual scene-changes insofar
as the d e s i g n of the authors and then the t o n e of the
s c e n e r y was at v a r i a n c e . Scenery by Czech Artists and
the p u p p e t s by A l e š w e r e long a c k n o w l e d g e d both at
h o m e and abroad
A f t e r the First World War. puppetry firms introduced new
collections of printed scenes and proscenium arches in
m o r e types of format for puppets of various sizes (18. 25
35 and 40-50 cm). It was usual for each set to have a single
d e s i g n e r and its own consistent artistic expression. T h e
largest decorations, for e x a m p l e , those by Bartoš in 1933
with a backdrop of 270 x 120 cm w e r e designed f o r school
and association theatre groups. O n c e again, the m o d e l s
created w e r e by recognised artists, for example, the head
of stage design at the National Theatre. A c a d e m y painter
K a r e l S t a p f e r (1863-1930). continually w o r k e d with the
Antonín Munzberg company Apart from his work already
mentioned, it is necessary to recall his design of proscenium
24
arch and stage and puppet designs f o r the A r t Puppet
Stage, as well as his interest in shadow theatre, for which
he thought up and constructed some ingeniously mobile
puppets which w e r e used in e v e n i n g p e r f o r m a n c e s at
the Artists' Association. He created for M u n z b e r g three
comprehensive series of scenes in various formats including proscenium arches. All his scenery is characterised
by a purely realistic conception.
A m o n g artists who continually took part in the upsurge
of household puppet theatre may be found the A c a d e m y
painter Vit Skála (1883-1967). Together with Oto Bubeníček
he was one of the l e a d i n g c h a r a c t e r s in the T h e a t r e of
Art Education, w h e r e he was active as a stage-designer,
director, dramatist and actor. He was also the designer of
non-traditional, original sets f o r s t a g e and auditorium.
He frequently published his activities in practical methodically oriented articles. He designed a c o m p r e h e n s i v e
series of technically perfect picturesque printed scenes.
In over sixty pieces for the company Modrý & Zanda, he
continued the series of Scenery by Czech Artists. In 1926
the publishing house A. Storch Son published his com
plete series Storch's Czech Puppet Theatre for puppets of
their co-creative functions: " M o d e r n scenery has to be as
simple, truthful and composed as possible in o r d e r to be
put to use in several ways; if falsified declamation is dis
turbing, so also is falsified perpective. T h e r e f o r e anyone
who wants to design scenery should avoid the perspective
of floors, windows and doors, l.et him not fill In the walls
with furniture, hearths, pictures, m i r r o r s , clocks, etc,
painted in perspective. All this is an obstacle in the creation
of the atmosphere of the scene, and excludes the possibility
of using the same elements of scenery for another purpose". 7
Artuš Scheiner was a painter and well known illustrator
of fairy tales w h o s e proscenium a r c h e s and scenery, in
harmony with the fin de-sleclo, are artistically unusual.
In 1932 tho J. H. Vilímek publishing house published his
designs Their technical skill is also exceptional in that,
f o r the first time, they w o r e r e p r o d u c e d photo-llthographically by offset press.
T h e highly stylised scenery and proscenium arch designs
of the architect Miroslav Kolář oxcoodod run of the mill
work They wore printed by Moravský papírový průmysl
( M o r a v i a n P a p e r Industry) at Brno l l u s o v l c o In 1020.
T h e y break up tho traditional system of having wings
t>St.misl.i\ Kulhánek,
shadow theatre, Choceň 1920
Moravian Museum Brno
<] Hercules,
puppet from Antonín Miinzberg's
theatre, Prague 1912
Moravian Museum Brno
Photos Miloš l hlíř
eighteen centimetres in height, for which he later created
another proscenium stage.
The publication of wrhat was known as Skdla's
Large
Stage Sets in giant-size format with a back-drop of 200 x
125 cm in the same y e a r was an exceptional action for
the Masaryk Adult Education Institute. These sets w e r e
no l o n g e r d e s i g n e d as a b a c k - d r o p with wings but as
individual c o m p o n e n t s which could be c o m b i n e d to
make different sets. A cyclorama went round the back of
the stage. Skálas decorations are also of a realistic nature,
which he programmatically asserts and defends: "...common
sense is s o m e t i m e s precariously reluctant to throw out
centuries of tradition and e x p e r i e n c e and to hurl itself
blindly into a chaotic whirl of modern by-words', hitherto
unproven by positive results. Let those who enthuse about
the stylisation of the t h e a t r e be a w a r e that realism o r
naturalism are also a definite form of style and that this
is a style which is much closer and m o r e comprehensible
to the soul of a child than all the other '-isms' put together". 6
He is a w a r e of the specifics of a stage environment and
with a set which uses individual d e c o r a t i v e e l e m e n t s ,
which Kolář divides into " l a r g e surface neutral" and
"characteristic details". The f o r m e r include black proscenium curtains, skies with stylised clouds, a background
in one colour and houses and trees, while the latter include
poppy fields, flowers, fires, (kitchen) utensils, bannisters
and furniture. He says about the style of his decorations,
"It is impossible to achieve scenic expressiveness through
a faithful imitation of reality. Scenery which does not strike
the v i e w e r between the eyes always remains woefully Hat
and the flatter it. is, the m o r e the corporeality of physical,
unpainted little figures contrasts with it. I have therefore
chosen thick three millimetre outlines and lively, colourful
c o n t r a s t s . K o l á r s extraordinary theatre unfortunately
did not i n s p i r e the attention it d e s e r v e d a m o n g his
customers. Svatopluk Bartoš and Eduard Christian w e r e
also among the most outstanding makers of printed theatres
and scenery up to the end of the Second World War. In 1946
the publishers Nakladatelství.]. R. Vilímek w e r e still printing the charming theatre of .Jaroslav Sváb, a printmaker.
25
The production of'puppets, especially marionettes, was
also extensive. Designs and prototypes were created by
sculptors, painters, architects and carvers who included
Josef Šejnost, Vratislav Hugo Brunner, Hanuš Folkman,
Karel Štapfer, Karel Svolínský, Antonín Sroift and Josef
Chochol. The smaller puppets w e r e cast or squeezed
from moulds for heads, arms and legs, or were also made
to o r d e r from wood, The l a r g e r puppets w e r e usually
carved. Polychrome work was done by hand. Every carved
puppet, was, in fact, an original, even though it belonged
to a largo series of one type. C o m p a n i e s put on o f f e r
complete puppets, nicely costumed, as well as cheaper
semi-complete puppets. Standard sizes varied from 18 to
150 cm and I,hoy were not lacking numerous props, accessories and technical aids. Anna Suchardová-Brichová's
Album divadelních krojů tAlbum of Theatrical
Costumes)
of 1021! mot with great popularity. IL contained costume
designs and patterns. The majority of companies which
dealt with the production of puppets and theatres published
detailed catalogues of their products accompanied by a
substantial number of pictures. Various manuals, guides,
albums, etc. which contained instructions for setting up
tho theatres and puppets wore also in abundance.
Tho period of the greatest upsurge in tho Czech lands in
both domestic and association amateur puppet-theatres
is characterised by a great disproportion between the
component of sol design and that of staging a production.
On tho one hand is professionalism, ambitious design,
and artistically presented scenery and puppets, but at
tho samo time a certain resignation towards tho scenogruphic function. On tho other hand, thoro is dilettantism
and degradation of theatrical creation to tho level of mere
sermonising. Enormous activity and total concentration
on a public of children is characteristic. In the C z e c h
lands during the I!).'50s, domestic and school theatres
together with over one thousand association theatres were
in operation. Quantity triumphed over quality; tho criterium
was tho number of performances staged. The excess of
dramatic literature available to the p u p p e t e e r was
almost without, exception lacking in artistic value."
We may seek the stimulus lor contemporary puppet theatre,
whether professional or amateur, in the experience where
disparagement, of I he substance of genuine creation tends
to load. Wo surmise this substance in tho self realisation
of personality in the course of tho creat ive process, unlike
mechanical and reproduction activities. T h e r e is also
something to bo learnt hero from the loss of theatre
specificity, IVom the one sided orientation towards design,
which has significantly contributed to its isolation from
theatrical d e v e l o p m e n t . The sot design component determines the form of puppet, theatre and must, therefore,
respect; its specific needs. Inventiveness is not enough.
Neither stage scenery nor puppets have the function of a
work from the plastic arts, bul are part of the artefact of
theat rical art. The creation of a good set designer remains
in a certain sense unfinished. And the increased possibilities of completing the creation te.g. by means of lighting
and m o v e m e n t ) on offer, the m o r e valuable will the set
be from the point of view of the production. Certainly,
the artistic, technological and craftsman-like quality
which marked the g r e a t e r part of small decorative art
production in this field and from this period remains on
26
the positive side. Today we might look with difficulty to
the Czech market for an analogous product which would
bring to mind the popularity of the household puppet
theatres of old.
"
At the end of 1830 this company presents about one hundred
sets and thirty-two puppet "cabinets' (theatres) in its production
21
A diverse collection of table theatres made of paper by wellknown European companies is nowadays held at the Osterreichisches Museum ftir Volkskunde in Vienna A comprehensive
catalogue was published for the exhibition in 1985. entitled
Papierlhcater,
containing historical surveys and photographs
in colour of a selection of the exhibits
31
Jarina Scheinerová recalls this theatre with nostalgia in her article
"Procul negotiis" ("Puppet P e r f o r m a n c e s at Dr Schemer's")
in Loutkář, vol. XVIII. no 8, pp.158-165
"
The occurrence of the original in C z e c h libraries and known
public or private collections has not been ascertained T h e Moravian Regional Museum at Brno (Moravské z e m s k é m u z e u m )
owns a replica of the proscenium arch and several figures with
their own paintwork
sl
The original of the theatre has probably not been preserved
The Moravian Regional Museum in Brno owns a copy of it
in precise dimensions
01
V Skála ' O různých téch ismech " in Loutkář
p 125
vol XI, nos 7-8.
71
V Skála "Nókollk slov o d e k o r a c i ' in Loutkař,
vol X no 1. p 10
M Kolář "Zjednodušeni divadla a jeho náladovost" in
vol V. nos 0-7. p 00
Loutkář
An incomplete survey and guide to the puppet plays from the
period can bo found in these publications .1 Veselý Sccnař
vybraných her loutkových kdokoli vydanych. Prague 1910
Z. BezdĎk Dójmy česká loutkové hry do roku 1045.
Thoatre Institute, P r a g u e Hltili
L
e théátre cle marionnettes ambulant tchěque qui.
á lopoquo de la renaissance nationale, avait joué le
grand role social du seul théátre professionnel tchěque,
perd, á partir de la deuxiéme moitié du XIX'1 siěcle. sa
íbnelion originále, s'engourdit. perd son public et s'éteint
lentement Les marionnettistes professionnels ne furent
pas capables, pour la plupart, de s'adapter aux conditions
sociales. politíques et artistiques nouvelles. Les moyens
ďexpression de leur théátre étaient inconciliables avec
les exigences du realisme et du modemisme. Les marionnettes ainsi que la scene se distinguaient par une conception artistique fixe. S'il est vrai que le style invariable
de mise en scene tendait instinctivement á utiliser 1'expression en signes. propre au théátre de marionnettes. en
realito, il imitait le théátre ďacteurs vivants. Toutefois. au
debut du XX 1 'siěcle. les spectacles de marionnettistes
ambulants survécurent. sous forme dégradée. aux cótés
de tendances nouvelles. Grace á sa popularitě, le théátre
de marionnettes ambulant fixa. dans la conscience de
toute la nation, certaines conventions courantes en figeant.
pour longtemps, la technique de marionnettes presqu en
une sortě de canon. II conserva cette e m p r i s e m a l g r é
1'apparition. vers 1860. ď u n e tendance, dans plusieurs
genres artistiques. á parodier le théátre de marionnettes
traditionnel et en particulier ses pieces primitives et le
style pathetique ďinterpretation
des associations et des theatres scolaires qui c o m m e n cěrent á fonctionner réguliěrement avec un fonds de marionnettistes ayant abandotine leur metier, lis s'adressaient
uniquement au public enfantin et ils se distlnguaionl par
leur tendance á instruire et á óduquer. Leurs fondateurs
sont surtout lunion ďeducation physique Sokol (un des
premiers théátres des Sokols a été cróé en 1874 á Kouřim),
puis plus tard les Associations o u v r i ě r e s ď e d u c a t i o n
physique et (organisation cathollque ďeducation physique
Orel. On enregistro des tendances sérleuses á utillser lo
theatre do marionnettes on tant quo moyen podagogiquo
(Ludmila Tesařová, František llausorl. La c o n c e p t i o n
conservatrice du style du thó&tre de marionnettes amateur qui connaft un ossor massif, se trouve ronforcóe par
dos manifestations culturellos importantos do Fópoquo
1'Expositlon ethnographique tchóco slave á Prtiguo (101)5),
los commemorations do 1'annlvorsaire do la naissance do
Matéj Kopecký (1905) et surtout I'Kxposltion do marlon
nettes au Muséo ethnographique do Prague tit)l l) alnsl
quo les représontations d'Arnoštka Kopecká, Invltéo i) la
salle do 1'holel Merkur (1012, lOIU). Dans los années 20,
on compto, dans not re pays, dos contalnos do Ihéátros
ď a s s o c i a t i o n s ot do thóátros scolalros. Quat.ro parmí
eux, grace a lour niveau excoptlonnol, ont nmrquó l'óvo
lution ultériouro du théátro do niarionnottos tchěque:
Divadlo Forlálních osad (Théátro do colonies do vacancos)
d e P l z e ň , U m ě l e c k á výchova (Education urtlsllquo),
Umělecká loutková scéna (Scóno artlstlquo tle marlon
nettes) et ftíše loutek (Royaumo des marionnettes), cos
trois dernlors slógeanl á Prague.
Le courant réformateur accompagnant 1 epanouissement
du théátre de m a r i o n n e t t e s a m a t e u r n ' a p p o r t a qu'un
c h a n g e m e n t de r é p e r t o i r e . des sujets plus v a r i é s et
ď u n e plus grande valeur. Mais le caractére du théátre
ne changea pas radicalement: le théátre resta fiděle aux
marionnettes et á la f o r m e baroque de la scéně á 1'italienne avec toile de fond, chassis, frises et rideau. On vit
naitre des théátres de marionnettes amateurs créés par
Le théátre familial do marlonnettos, phónomóno parti
culier de 1'histolre du théátro de marlonnettos, so dóve
loppo parallělement au théátro do marlonnottos amatour.
Dans notre pays, il connaít uno diffusion massive ot joiiit
ď u n e trěs g r a n d e popularitě. Lo goůt e x t r a o r d i n a i r e
pour ces petlts théátres do papier dócoupó, connu dans
plusieurs pays, a son origine dans la passion romantlquo
que la b o u r g e o i s i e éprouvait pour le théátro dans la
premiére moitié du XIX"siěclo. On vondait cos théátres
sous forme de feuilles xylographlóes, chromographiéos
ou lithographlées. Ces feuilles comprenalent 1'imitatlon
du cadre, de la Irise et du rideau ďun théátre cpncret,
les décors ainsi quo les personnages ď u n e dos plěces
á succěs, á ce moment lá au répertoire du thóátre. La
publication de ces feuilles était, gónóralemont, incitée
par la premiére ď u n e piěce. A 1'origíne, le róle de ces
théátres était plutót décoratif. Plus tard, les feuilles
étaient accompagnées de mode ď e m p l o í facllitant la
construction ou de différents m o d ě l e s de textes et tle
dispositions relatives au jeu. On supposaít done qu'elles
seraient utilisées a des fins théátrales, Cette f o r m o de
distraction était courante príncipalement dans les families
de la noblesse et de la bourgeoisie. Tandis que dans les
pays voisins, les théátres de marionnettes familiaux
demeuraient le privilege de 1'arístocratíe et de la
bourgeoisie, en Bohéme et en Moravie, ils connurent,
gráce a leur popularitě, une diffusion massive. Dans ce
domaine, les premiers produits industriels venaient
ď A l l e m a g n e , ď A u t r í c h e et de France. Parmi les fabri
cants célěbres, cítons Matthaús et Joseph Trentsensky
( V i e n n e ) " , Gustav Kíihn fNeu-Ruppin), Oehrnigke &
Riemschneider (Neu-Ruppin), Robrahn & Cie (Magdeburg),
J. F. Schreiber (Esslingen), J. Scholz (Mainz), Mon Théátre
27
(Paris). C e s t en A l l e m a g n e que cette production était la
plus importante. Dans les régions d e langue allemande,
il y avait une cinquantaine d e maisons ď é d í t í o n spécialisées dont les produíts d i f f é r a i e n t p a r leur qualité: on
trouve, parmi eux, des produíts naífs, de mauvais goút,
imprimés sur un papier de qualité médiocre, mais d'autre
part, b e a u c o u p d e p r o d u í t s p a r f a i t s du point d e v u e
artistique et de la reproduction. Ces théátres avaíent un
certain nombre do caractéristiques communes: par
e x e m p l e , un e s p a c e plus g r a n d s é p a r a i t le c a d r e d e
1'arriěre plan; des frises reiiaíent plusleurs r a n g é e s de
chassis. On r e m a r q u e é g a l e m e n t la conception réaliste
de leurs d é c o r s roprésontés en perspective; ces d é c o r s
r e p r e s e n t a l o n t souvont la nature ot é t a i e n t truffés de
détails inutllos (des meubles points par exemple). 2 1
Parfois, los théátres étaient lábríqués et installés
á d o m i c i l e , g é n é r a l e m e n t g r á c o á un m e m b r e de la
f a m i l l o doué do talent artistique. Celui ci s'engageait
aussi souvont dans la production en série. Ainsi, dans les
annóes 11)00, on a c r ó ó 1'imposant théátre des f r é r e s
S c h o i n o r á Prague. Son cadre, son ridoau ot ses décors
sont, I'oouvro du pelntre Artuš Scheiner qui sculpta et
poignit los tétos do la plupart des marionnettes. Plus tard,
il utilisa certains ólómenls do co théátre clans sa collection dossinóo pour 1'ódlteur J. R. Vilímek. " lín 1010, lo
sculptour I lanuš Folkman construislt un théátre ď a p r ě s sos
propres dossins ot sculpta des marionnettes pour ses
enfants. Son fonds deviondra, plus tard, celui du théátre
connu sous lo nom do U m ě l e c k á v ý c h o v a . Folkman
m o d o l a ógalemont des tétos do marionnettes pour une
fabrication on série do la sociótó M o d r ý &. Zanda ot en
desslna los costumes. Nous p o u r r i o n s citor b e a u c o u p
d ' e x o m p l o s somblablos. II est Important do savoir que
los artistes étaient offectivoment los souls professionels
(au sons do la qualification) qui aiont contribuó á la formation ot au d é v o l o p p e m e n t du théátre de marionnettes
amateur ot du théátre familial. C o s t pourquoi son niveau
artistique dópassait c o n s l d ó r a b l o m e n t ses autros c o m
posantes ot, on fin do compto, détermlnalt son style.
Les p r e m i e r s décors tchóquos do petit format ď a r r l ě r e plan 30x21 c m ) furont publiós on 1894 aux Editions J. R.
Vilímek dans la collection Malý čtenář (Le Petit lecteur):
4 fouillos avoc 1'avant-scěne, les décors d e la place ď u n
v i l l a g e ot d e s m a r i o n n e t t e s plates pour la p i ě c e Pan
Franc zc zámku (Monsieur
Franc du cháteau).
Elles
ótaient. i m p r l m ó e s en noir avec 1'instruction «á d é c o u p e r
ot á colorior». Leur autour était Karel Stapfer. La quasi
totalité du tirago a brúló lors ď u n incendie du dépot des
Editions Vilímek et on n'a jamais réalisé la róimpression
Č e s k ý svaz l o u t k o v é h o d i v a d l a ( A s s o c i a t i o n t c h ě q u e
des amis du t h é á t r e do m a r i o n n e t t e s ) , c r é é e en 1911,
a suggóró et soutenu 1'idóe do c r é e r et de produiro en
série un théátre familial de marionnettes exclusivement
tchěque qui puisse concurrence!" les produits étrangers.
P a r m i les m e m b r e s de 1'Association, il y avait le peintre
M i k o l á š A l e š qui, dans son ceuvre, r é s e r v a i t une p l a c e
importante á la marionnette. C e sont ses dessins qui serv i e n t d e m o d ě l e aux p r e m i é r e s marionnettes tchěques
f a b r i q u é e s on s é r i e . En 1912, a v e c le c o n s e n t e m e n t d e
M i k o l á š A l e š , lo s c u l p t e u r Josef Sejnost m o d o l a . p o u r
1'Association, la p r e m i é r e p e t i t e c o l l e c t i o n d e m a r i o n n e t t e s plast iques m o b i l e s (36 cm), mais e l l e s n e furent
jamais mises en fabrication. U n e s é r i e d e m a r i o n n e t t e s
28
plus petites (25 c m ) m o d e l é e s par Karel Kobrle d aprěs
les dessins ď A l e š eurent plus de chance. La fabrication
de ces marionnettes qui se distinguaient par une culture
artistique r e m a r q u a b l e fut c o n f i é e á la société A n t o n í n
M u n z b e r g ( P r a g u e ) et en 1912. la p r e m i é r e série était en
vente dans la librairie České lidové knihkupectví u Springra.
Les caractéristiques de ces marionnettes étaient une disproportion d e la téte et du corps, qui leur donnait un air
drólatique, un modelage elliptique et des costumes soignés.
A u j o u r ď h u i , on les connait sous le nom de -marionnettes
ď A l e š * . A la fin d e 1'année 1916. on en enregistrait déjá
plus d e 80 types. Le p r e m i e r t h é á t r e t c h ě q u e ( a v a n t s c ě n e et d é c o r s ) p o u r ces m a r i o n n e t t e s fut r é a l i s é en
1912 par Zdenék Weidner ď a p r ě s les dessins d e Rudolf
Livora, par une technique d e p a p i e r s c o l o r é s collés sur
toile Mais la t e c h n o l o g i e c o m p l i q u é e et les frais é l e v é s
ne permirent pas de p r o c é d e r á la fabrication en série et
on n'en fabriqua que quelques piěces. 51 Certains éléments
d e ce théátre, par e x e m p l e un e s p a c e peu p r o f o n d et
une stylisation artistique. signalaient la possibilité ď u n e
certaine r é f o r m e scénographique du g e n r e
C é t a i t par les « D é c o r s ď a r t i s t e s t c h ě q u e s » qu'on a fait
un essai d e la réaliser. Leur p r e m i é r e série fut i m p n m é e
par A Vítek en 1913. II s'agissait d e lithographies en 6 á 9
c o u l e u r s . r é a l i s é e s p a r le p e i n t r e J a r o s l a v P r o c h á z k a
ď a p r ě s des dessins ď a r t i s t e s p r o f e s s i o n n e l s t c h ě q u e s
L'avant-scěne, les draperies, la frise. le n d e a u et un des
changements de d é c o r furent c r é é s par František Kysela,
le reste des décors étant 1'ceuvre ď A d o l f Kašpar. Jaroslav
Panuška, Josef Wenig. Jaroslav Procházka. Ota Bubeníček
et Stanislav Lolek Le haut niveau artistique et la qualité
d e la reproduction ont é t é r e c o m p e n s é s par un prix lors
de 1'F.xposition ď a r t s graphiques d e Leipzig La belle et
originále avant-scěne de František Kysela con^ue dans le
style cubiste compte parnn les meilleures creations réalisées chez nous, dans ce d o m a i n e Les trois séries d e décors imprimés qui suivirent. était de bonne qualité et furent
vendues par la maison Antonín Munzberg. les autres séries
furent vendues par la maison Petrus (devenue plus tard
Modrý &, Žanda et enfin, M a r i e Písařová, sous la marque
d é p o s é e M a r l e n ) puis a p r ě s 1919, p a r la s o c i é t é J E K A
(Jan a Eliška K r á l o v i ) ; toutes c e s s o c i é t é s s i é g e a i e n t
á Prague. On vit a r r i v e r d e nouveaux auteurs: Ferdinand
Engelmuller, Jaroslav Kvét, Ladislav Novák, Max Boháč,
Bohumil Vágner, Josef Skupa, Karel Stapfer, Vít Skála,
Ladislav Sutnar, A l o i s K a l v o d a , Dans le f o r m a t d e s
Décors ďartistes tchéques, furent éditées, en tout, neuf
séries marcjuées et une série non marquée, représentant
130 f e u i l l e s do d ó c o r s et 8 f e u i l l e s ď a v a n t - s c ě n e s .
L'arriore-plan de ces dócors avail les dimensions 72x45
cm, la largeur des chassis ólaiL do 25 cm. Outre leur caractéro typiquement tchéque et leur niveau artistique,
ces décors apportéront uno simplification et une «aéra
tion» do la scéně. Le systéme désuot do plusieurs paires
do chássis et de plusieurs rangúes de frises qui génait le
déplacomont do marlonnettos dans touto la prol'ondeur
de la scéno, a été róduit á uno řrlse do dovant et une ou
doux p a i r o s d o chássis. On r o m a r q u e é g a l o m o n t la
suppression du trompo-I'mil et do détails superflus, surtout
ď a c c e s s o i r e s points dos intérieurs. Los problémos se po-
30
saient lorsqu'il s'agissait d e c o m b i n e r les d i f f é r e n t s
changements d e d é c o r car 1'écriture des auteurs et done
le c o l o r i s d e s d é c o r s étaient, g é n é r a l e m e n t . d i f f é r e n t s .
Pendant longtemps, les Décors ďartistes tchéques et les
m a r i o n n e t t e s ď A l e š étaient trés a p p r é c i é s dans n o t r e
pays et á l e t r a n g e r .
A p r é s la p r e m i é r e g u e r r e mondiale, les fabricants de
marionnettes ont présenté des collections nouvelles de
d é c o r s et ďavant-scénes, i m p r i m é e s en plusieurs dimensions, destinées á des marionnettes de tailles différentes
(18, 25, 35, 45-50 cm). G é n é r a l e m e n t , chaque collection
était r é a l i s é e par un seul a u t e u r c e qui assurait son
h o m o g é n é i t é . Les trés g r a n d s d é c o r s , ceux d e Bartoš
de 1933 entre autre, destinés aux théátres ďassociations
et aux t h é á t r e s s c o l a i r e s . a v a i e n t un a r r i é r e - p l a n á
des dimensions d e 270 sur 130 cm. Ils étaient exécutés
ď a p r é s des dessins ďartistes reconnus P a r e x e m p l e .
le c o l l a b o r a t e u r p e r m a n e n t d e la maison A n t o n í n
Miinzberg était Karel Stapfer (1863 - 1930), peintre et
décorateur-chef du Théátre National. II faut mentionner
qu'il a é g a l e m e n t c r é é l avant-scéne et les décors et des-
(Masarykův lidovýchovný ústav). Ces décors ďótalent
plus congus comme arriěre-plan avec chassis, mais comme
des éléments particuliers servant á arranger la scěne.
térisés par une conception purement réaliste.
Parmi les auteurs qui contribuěrent, de fagon permanente,
á l essor du théátre familial de marionnettes, il faut
mentionner le peintre Vít Skála (1883 - 1967). Avec le
peintre Ota Bubeníček il comptait parmi les plus actifs
du théátre Umélecká výchova oú il assumait les róles de
scénographe, metteur en scene, dramaturge et acteur;
il est aussi l'auteur de la conception originále de la scěne
et de la salle de ce théátre II a publié de nombreux articles
faisant part de sa p r é c i e u s e e x p é r i e n c e pratique.
II a dessiné de riches séries de beaux décors imprimés,
ďune qualité technique particuliěre: plus de 60 feuilles
dessinées pour la société Modrý &. Zanda, qui représentaient la poursuite des Décors ďartistes tchěques. En
1926, les Editions A. Storch et fils publient 1'ensemble de
son «Storchovo české loutkové divadlo» (Le Théátre de
marionnettes tchěque de Storch) destiné aux marionnettes
de 18 cm de haut, qu'il compléta, plus tard, ďune deuxiěme
avant-scěne. La publication des soi-disants «Skálový
velké dekorace» (Grands décors de Skála), décors géants
dont l a r r i ě r e - p l a n mesurait 200 sur 125 cm était une
réalisation exceptionnelle de 1'Institut éducatif Masaryk
Larriěre-plan était const it ue ďun cyclorama. Les décors
de Skala ont. eux aussi. un caractěre réaliste, caractěre
soutenu et défendu par l'auteur en tant que programme:
«... parfois le bon sons so refuse radicalement ťi se dóbarrasser ďune tradition et ďune experience contonairos
pour se jeter aveuglément dans lo tourbillon do «devises
modernes' n'ayant pas encoro donné do résultats posil it's.
Ceux qui s'onflammont pour la stylisation du théátre dolvent tenir compte du fait que lo réalismo ou lo natura
lišme représentent ógalemont un style, un stylo plus
accessible que tous les aul res • ismes» t\ l'áme do Ten
fant.» "'Skala se rond compte do la spócificltó de la
scěne ot de sa fonction format rico: -Lo dócor moderno
doit étre lo plus simple possible, véridlque ot congu do
fagon a permettre plusleurs manléros ďutlllsatlon ... si la
declamation fausse a un elíot dérangeant, c'est ďautant
plus vrai pour le trompe I'mll. Celul qui, désormal.s, dos
sinera des projets et dos décors devra évltor clo roprósenter planchers, fonótres et porl.es dessinés on per
spective, murs recouvorts de meubles, poélos, tableaux,
glaces, pendules, etc. points on perspective. Tout cola
empécho ďobtenir un aspect agróable de la scone el.
exclut la posslbillté d'utlllser lo mSme dócor ďune I'a
gon diflóronto.»71
En 1932, los Editions J II. Villmok publlont I'avant scene
et les décors ď i n s p i r a t l o n Art nouveau, ď u n niveau
artistique remarquablo, róalisós par Artuš Scheiner,
peintre et illustrateur. lis sont excoptlonnels aussi par
leur technique: pour la premiére Ibis, los décors ont ótó
reproduits par photolithographic!, c'osl. á dim it roffsot,
Dans la production banale dt! l époquo, so font nettomont
r e m a r q u e r les décors ot 1'avant-scěne trěs stylisés do
l architecte Miroslav Kolář, publiós, en 1920, par Moravský
papírový průmysl de Brno-Husovlco. lis brlsent le sys
těme traditionnel de chassis en introduisant un ensemble
composé ď ó l é m e n t s isolés, des óiéments «do grande surface, neutřes» (p. ex. rideaux noirs ďavant-scóno, ciel
31
avec nuages stylisés, arriére-plans monochromes, maisons, arbres) et des «détails de caractórisation* (p. ex.
champ de coquelicots, flours, flammes, recipients, balustrades, meublos, etc.) Kolář précise: «On n'obtient pas
1'expressivitó des dócors on imitant la réalité. Le décor
qui ne i'rappe pas immédiatomont I'oeil du spectateur
reste á jamais lamontablomont plat, d'autant plus plat
qu'il contraste avoc les corps plastiques des pantins qui,
eux, ne sont pas points, Voílá pourquoi j'ai choisi d'utiliser
des lignes nourrios, do trois millimetres et dos contrastes
de couleurs vivos."'Malhoureusement, co théátre exceptionnol, cróó par Kolář n'a pas óvoilló I'attontion méritée
des clients, corrospondant pou á leur goút. Parmí les
autours do thóátros et do décors ímprimés d'avanl, la fin
de I a 2 " g u o r r o mondialo, il f'aut mentionnor Svatopluk
Bartoš et Eduard Christián. Egalomont on 1046, los Editions
J. R. Vilímok publiont un thóátro ravissant du graphiste
.Jaroslav Sváb.
La production richo do marionnottes, á Ills on particulior,
mórlto lino attention particulioro. Dos sculplours, dos
pointros, dos archltoctes, dos sculptours sur bois commo
Josef Svojnost, Vratislav Hugo Brunnor, Hanuš Folkman,
Karol Stapl'or, Karol Svollnský, Antonín Sroift, Josef
Chochol oi, d'aulres participórent a la róalisation do dosslns ol. do prototypes. Los potllos marionnottes étaient
gónónilomont fabiiquóes par la móthodo do coulée ou
do moulago a la main (fntos, bras, |ambos), sur commando,
on los sculptail, on bois, Los grandos marionnottos étaiont
sculptóos on bois, la polychromio so faisait a la main.
Chaquo marionnotto ótait, on (alt, un original, mome si
olio laisait partio d'uno granclo sórlo d'un soul typo. Les
fabrlcants ol'IValonl. dos marionnottos complótes, bion
coslumóos ou dos prodults somi finis moins chers. Los
tu i I los standard varialont do IB A 50 cm. Los fabricants
proposalont ógalomonl. touto sorto d'accossoiros ot
ďlnstrumonts tochnlquos. En ll)2!l, lo publicacuoillit
trés bion «l'Album do costumes do scéno* (Album divadelních kroji'i) d'Atma Suchardová Brichová, contonant
clos dos,sins ot dos patrons du coslumos. La plupart des
fabrlcants do marionnottos publiaiont dos catalogues
dótaillós, sóriousomonl illustrós do lours produits. II y
avail, ógalomonl. un grand choix do manuols, guides,
albums, modos d'omplol lacilitant In construction,
La p ó r i o d e du plus grand ossor du thóátro clo marionnettus d'amalours Ichéquo, du thóátro familial ainsi quo du
thóátro dissociations, osl curaelóriséo par uno disparity
IVappanto ontro sa composanlo artisliquo ol sa pratique
do miso on scéno, D'un cótó, In profossionalilo, l'ambil.Ion, la concoption artisliquo do décors ot do marion
nottos, nuvis, on m e m o temps, un certain rononcomont
ii la lonction scénographiquo; d'un aulro cóté. lo dilottan
tismo e( la d e g r a d a t i o n do la c r e a t i o n ( h é á t r a l o á
uno simple moralisntion. Cotto opoquo so distingue par
son orientation exclusive vors lo public onfantin ot par
une activité excessive. Dans los années tronto. il y avait.
dans notre pays, un grand nombre do thóátros familiaux
ot scolaires ot plus d'un millior do théátres dissociations.
La quantitó I'omportait sur la qualito. lo critoro étant le
nonibre do spectacles realises. A quolquo e x c e p t i o n
pres. I'abondante littoraturo pour les marionnottistes
manquait do valour artistique. 1 "
32
L'inspiration pour 1'art contemporain. professionnel ou
amateur, de la marionnette, devrait reposer sur 1'expérience des années passées: les effets néfastes du dédain
de I'essence d'une véritable création qui sous-tend ['expression de soi-méme, de la personnalité dans le processus
de création la distinguait des activités mécaniques
et du caique. II ne faut pas oublier non plus de tirer la
legon du mépris du caractěre particulier du théátre. de
l'orientation artistique trop spécialisée de ses auteurs,
qui a considérablement contribué á les isoler du développement du théátre. La composante artistique determine la nature du théátre de marionnettes. Pour cette
raison, elle doit respecter sa spécificité. L'invention artistique seule ne suffit pas. Ni la decoration scénique ni
la marionnette n'ont la fonction d une oeuvre d'art - elles
font partie de 1'art théátral. Le travail d'un bon scénographe reste, dans un certain sens, non achevé. Et plus
vastes sont les possibilités de le p a r a c h e v e r (par la lumiére et/ou le mouvement.J, plus grande est sa valeur
pour la mise on scéně. Les qualités artistiques, technologiques et artisanales qui, dans cette branche, caractérisaient une grande partie de la production d'arts décoratifs do l e p o q u e constituaient un avantage incontestable.
De nos jours, on aurait de la peine á trouver, sur le marché
tchéque, un produit comparable qui puisse r a n i m e r
la popularitě des théátres familiaux ďantan
"
A ta fin (It? 1830, c e l l o socióló signále, dans sa production
onvlron 100 décors ei \\2 théátres de marionnettes.
A u j o u r ď h u i , c e s t 1'óslereichisches Museum tur Volkskunde
do Vienne, qui posséde une riche collection de théátres de table
en papier. En l()B5, á I'occusion de son exposition, il a publié
un riche catulogue «Papiertheuter- comportant de remarquables
tableaux chronologiques et d e s photographies en couleurs
de plusieurs objets exposes
Jurinu Schoinerová évoque ses souvenirs nostalgiques de ce
théálre dans son article Procul negotiis (Spectacles de théátre
cle marionnettes chez J Scheiner). in Loutkuř. année XVIII
no 8. pp. 158-105
11
5
L'existence de 1'originul. dans les bibliothéques tcheques et dans
les collections publiques ou privées connues. n est pas attesté
Le Moravsko z e m s k é muzeum (Musée du pays m o r a v e ) do Brno
posséde uno répliquc de l avant scéně et plusieurs figurines
coloriées par ses propres soins
L'originul du théátre ne s'est vraisemblabloment pas conserve
Le M o r a v s k é z e m s k é m u z e u m de Brno on posséde une replique
do dimensions c o n f o r m e s
V. Skala O nižných těch .ismech" (Sur difforents -ismes-l. in
Loutkář, année XI. no 7-8. p 125
' ' V, Skála Nékolik slov o dekoraci iQuolques mots sur la décoration). in Loutkář, année X. no l. p 10
M Kolář: Zjednodušeni divadla a toho naladovost
(Lil Simplification du théátre et son émotivité), in Loutkář
année V. no 6-7. p 90
!>1 Les publications suivantes donnont un apercu paruel et des informations sur los pieces de marionnettes
J Veselý Scenař vybraných her loutkových kdekoli v> daných
(Le catalogue des pieces de marionnettes choisies editees
n importe ou1. Praha lí»ie
01
Z Bezděk Dějiny éeske loutkové hry d o roku 1945
(L'Histoire du theatre de manonnettes tchéque íusqu en 1945).
Praha 1983
T
he extent to which the designer as the puppet's creator influences the character of a dramatic figure by
the choice of material, the technical design fwhich determines the possibilities of a puppet's m o v e m e n t ) and
especially by the artistic concept, does not resemble any
of the other types of theatre. In the 1920s, however, his
standing in Czech puppet theatre was so dominant that
it was called the period of the hegemony of the puppet
artists. This phenomenon was connected with the development at the turn of the century in Czech puppet theatre,
which brought an important phase to a close with the
end of the nineteenth century. It must be said that the
typical itinerant representatives of traditional popular
puppet theatre were continually active in the Czech lands
until the 1950s, but they did not bring any new impulses
in development. This challenge was taken up by amateur
33
puppeteers at the beginning of the century, who laid the
groundwork for modern Czech puppet theatre with their
work mainly in theatres belonging to associations.
The development of amateur puppetry was related to
new social needs; during the time of a strengthening aesthetic and educational movement, a suitable theatrical
form for the education of children was sought. The impulses of symbolism in the theatre and other modern
trends as a reaction to naturalistic tendencies also inspired
interest in this type of theatre and its specific possibilities.
The number of amateur stages had been growing rapidly
since the beginning of the century. Parents and teachers
were particularly keen to organise p e r f o r m a n c e s for
children, and with this in mind, the Czech lands achieved
a unique standing in comparison with other European
countries, although the standard of these productions often
did not correspond to the effort e x e r t e d At the same
time, a number of artists appeared, mostly designers but
also actors and writers or musicians, who sought to experiment with the opportunities which puppet theatre
presented and to publicise their artistic views. Their work
was isolated from the beginning and was unrelated to the
specific practice of perfoimance. Thus, for example, a series
of puppets came into being by well-known artists, who
conceived them as artefacts in their own right Where these
two trends met. however, stages arose which significantly
developed Czech puppetry both by their artistic results
and by their search for something new.
standing artists to work with them so as to 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.
Even in the inaugural production of František Skroup's
opera Drátenik (The Tinker), the company indicated its
rejection of the typical stylisatlon of voice and movement
of the itinerant puppeteers almost in the manner of de
monstrating against il The issue of vocal performance
was, at least for the first phase, solved by the choice of an
operatic work. Yet. by this new means of managing pup
pets, which enabled the rigid and torpid movement, of
the marionnettes to be removed and permitted the ex
in the first phase, ambitious companies attempted to dis
tance themselves from the style of performance practised
by itinerant puppeteers, which was then considered
outmoded and very basic. They had not yet created a
comprehensive artistic programme. Above all, they attempted 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 m e m b e r s w e r e 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 time, it led to a certain undervaluing of the remaining components.
Two Prague theatres serve as examples of these stages:
Loutkové divadlo Umělecké výchovy (Puppet Theatre of
Art Education, founded 1914) and Umělecká scéna ftíše
loutek (Art Theatre Realm of Puppets, founded 1920).
Both 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 of puppets and stages, help us to
understand better the development of Czech puppet
theatre in the interwar period.
The Puppet Theatre of Art Education was founded as an
amateur theatre through the P r a g u e Association of
Teachers. It arose through an historic act: it was the first
time that a group of teachers invited a number of out-
tension 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 Hanuš Folkman (Ki76-!9rjfjJ: unlike the traditional
folk marionnettes, carved in an expressly baroque manner,
these puppets were marked by much more subtle modelling, particularly in the face, and with an attempt at greater
resemblance to human anatomical proportions. These
play, his designs only concerned the costumes, while the
puppets themselves remained untouched by this stylistic
key. This concept of regarding puppets as "alive", "as in
reality" came to be an expression of the greatest recognition. The Realm of Puppets followed a somewhat different
creative d e v e l o p m e n t . It was founded by the sculptor
and carver Vojtěch Sucharda (1884-1968) and his wife, the
painter Anna Suchardová-Brichová (1883-1944) Even on
this stage, the artistic element became the most active
part of the production The stage designs of Anna Suchardová d e v e l o p e d from a m e r e description of the
environment to attempts to shape it with emblematic
scenery and gradually direct it towards a simplified stage,
formed mostly by lighting as the unifying and dynamic
element. These changes in the work of Suchardová were
indisputedly influenced by the overall tendencies of
Czech stage design. By tho constant seeking of an ideal
set-design for a puppet play, however, Suchardová succeeded
in shifting the development of puppet stage design Her
husband, the puppet maker Vojtěch Sucharda. had no
less an interesting journey at the Bealm of the Puppets
Unlike fellow designers at the Theatre of Art Education,
he was markedly influenced by folk marionnettes There
was also an element of family tradition involved in this,
since his grandfather and father belonged to an outstanding
family of puppet makers. Sucharda understood the stage
effect of expressive carving and the emphasis on the head
and physiognomy of the puppets for their characteristics
and in this spirit he c r e a t e d his devils, w a t e r sprites,
robbers and other fairytale and comical figures But even
concepts wore constantly boitig doeponod in the 1920s
when the painters Ota Bubeníček (1871 1062) and Vít Skála
(1881 Ií)(i7) wore shaping tho profile of the Theatre of Art
Education. Bubeníček as a sol designer attemptod a taste
ful. subt le and colourful approach to stage scenery and
evocative lighting with an entirely harmonic visual im
prossion of tho set, which was supposed to have an effect
on the child viewer as soon as the curtains opened.
The charming pastel-coloured scenery of a Czech land
scape and subtly harmonised scones from foreign lands
or fairytale 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 scenes being provided with sculptural supplements
and with a number of small details, all to strengthen the
tendency towards illusory descriptiveness. The work of
Vít Skala, who made the majority of puppets for the
Theatre of Art Education, 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. (The partial use of illusionistic materials, for
example, hair, contributed towards this.) It is symptomatic
that when the sculptor Ladislav Šaloun attempted through
expressive stylisation in the spirit of the late art nouveau
to singularise the fairytale figures from Gebauerova's
36
he was not to be saved from the periodic trend which
directed him to imitate the model of the puppet as
person-actor, and especially among the female figures.
But his sense for stage effects and fantasy became a
corrective factor in his work, and he asserted it particularly in fairytale figures where he was not bound by
respect for empirical reality. This allowed him to stylise
their artistic form and to discover new possibilities of
movement and expression by means of an unexpected
approach to form or by unusual material.
The critics of the period noticed the difference in the
artistic direction of the two puppet theatres and drew
attention to the greater attempt at creative stylisation at
the Realm of Puppets. From the point of view of history,
however, these differences do not seem to be essential.
Both theatres in their way preferred the aesthetic effectiveness of the visual side of a performance and had not
yet exhausted the processes adequate for the specifics of
puppet theatre in making use of the singular possibilities
of puppets. They were protected both by the anthropomorphic concept of puppets and by the reality that theatres
were at the time using one set of puppets which went
from play to play, receiving new costumes, and so, for example, the practical possibilities of greater use of artistic
hyperbole or caricature were limited by the further usefulness of the puppets. Despite differences in the style of
individual designers, this phenomenon was symptomatic
for the majority of Czech amateur puppet theatre companies. The only exception to this trend was Josef Skupa,
whose work, although he himself was a professional artist,
ensued from the theatrical function of the puppet, from
the possibility of its dramatic performance, and in his
work he directed himself towards limiting the hegemony
of the designer.
The decisive share in the gradual change of this orientation
fell to those who represented the succeeding generation
of puppeteers in the 19,'iOs, who were clearly conscious of
the importance of direction, which had up to then been
paid minimal attention, instead of a parallel, often independent raising of the level of individual components,
the young directors Erik Kolár, Jan Malik at the Theatre
of Art Education, Vladimír Smejkal at the Realm of Puppets
and others tried to create structural bonds, determining
an exact directorial concept, between the individual
37
components. It is characteristic that the gradual retreat
of the visual artist from a leading position did not at all
signal decline at the artistic level. In fact, during those
years some of the most important productions of the first
half of the twentieth century arose for which set designers
were largely responsible.
influence of working with the director Smejkal. Particularly since the beginning of the 1930s Sucharda had
been looking for new material and shaping designs
which might influence the meaning and effect of the puppet.
It is true that in his work he did not fundamentally abandon
the illusionistic standpoint, but he managed to find a means
Sucharda's work gradually manifested a new understand
ingof the function of tho puppet both under the Influence
of Sucluirdovt'i (whose designs for stylised puppets made
of parts turned on a lathe wore not realised, although
hor stimuli did nol remain unacclaimed) and under the
more often a movement, or emphasising the material
with which he disturbed the illusionistic nature and by
the oscillation between illusion and its deliberate disturbance he strengthened its theatricality.
38
In the early 1930s, the architect Bohumil Budéšínsky
(1890-1945) noticeably established himself at the Theativ
of Art Education. Working with the director E. Kolár he
mostly reinforced the stylistic transformation of puppetry
at the time. As a puppet-maker he rejected the concept
of the puppet as a reduced imitation of an actor and was
among the first to establish the necessity of creating entirely new puppets for each production, corresponding in
both artistic form and technical design to the purpose of
the director. Working with Kolár he succeeded in emphasising the anti-illusionistic processes and using only the
possibilities of metaphorical effectiveness of (he puppets
demonstrated that the world of animals and non-living
subjects is essentially close to the specifics of puppet theatre.
With similar intentions the design and directorial quests
of Jan Malik (1904-1980) concentrated (for example in the
production of Sophocles' Oedipus) on the function of stage
space in relation to the director's concept František
Vojáček (1893-1942), a painter and illustrator, became linked
with Buděšínskýs theatre at the Theatre of Art Education
at the end of the 1930s. By his playful and humorous
L
influence exercée par l'artiste en tant que créateur
de la marionnette sur le caractěre du personnage
dramatique, par le choix de matériel. par la realisation
technique qui détermine la mobilitě de la marionnette
et surtout par la conception artistique, n'a pas ď é g a l e
dans d'autres genres théátraux. Dans les années 20. son
role dans notre théátre de marionnettes était predominant á tel point que cette période est appelée l e p o q u e
conception of puppets he emphasised their puppet-like
qualities and inspired the imagination and fantasy of the
audience of children. His most successful set design was
a set and puppets for a production of A. 1 lirsch's Kiysař
(The Rat catcher), which is one of the pivotal works of
Czech puppet theatre from the first half of this century,
In the most important productions of the 1930s, in tho
thorough collaboration b e t w e e n director and designer,
the design element was divested of its merely descriptive
and decorative function and became an active part of the
theatrical act and the vehicle of semantic information.
The development of those years demonstrated that even
in puppet theatre, the quest for artistic e x p r e s s i o n Is
constantly involved in a repetitive process, checking tho
relations of the artistic aim to the overall production and
(o the actual specifics of puppet theatre. Much of what
C z e c h puppeteers achieved, including the honourable
place of the artists from the Realm of Puppets and tho
Theat re of Art Education, strikes us today as obvious, but
without their original attempts to find an expression, It
would not be obvious at all
de 1'hégémoníe den artíxtes. Ce phénoměne ést lié á une
transformation radicale du théátre de marionnettes
tchéque dont une étape importante s'est refermée á la
fin du XIX'"siécle. Dans notre pays, des représentants
ambulants typiques du théátre populaire traditionnel
continuérent a travailler jusque dans les années 1950,
mais ils n'étaient plus porteurs ď i d é e s nouvelles. Au
début de ce siěcle, ce sont les marionnettistes amateurs
39
qui ont pris ID relais ot qui, pur lour production, co lie des
scénos d'assoclatlons on particulior, ont |otó les buses du
théátre do murlonnottos modorno tchéquo.
L'essor du genre fut le rósuitat de nouvoaux besoins
sociaux, Uépoquo élunt murquóe pur un courant esthé
tique et éducatif croíssunt, on cherchait une forme
thóátralo convenuble pour réducation des enfunts
^inspiration du symbolisme théátral et d'autres courants
tnodornos on reaction aux tendances du naturalisme
contribuěrent ógalemont a susciter i'intérét pour ce
genre lhů&tral et sos possibilitós spéci fiques Depots le
début du siěcle, on ussistait it une multiplication de scenes
d'amateurs ou surtout des parents et des pedagogues
enthousinst.es orgunisaiont des seances réguliěres pour
los en Stints a ce sujet. Itt Bohéme ei la Moravie tierment
tint1 place oxceptionnelle en comparaison uvec d'autres
pays européens 11 taut admettre que la qualité de ces
productions ne correspondait pas toujours á 1'énergie
dépensée a lour preparation. Les artistes, les plasticiens
en particulier, mats aussi les ucteurs, les écrivuins sut les
musiciens étaient toujours plus nombreux a chercher.
dims le theatre de marionnettes, des possibilités
ďox pér i montér, de verifier lours concepts artistiques.
Au debut, leur creation était tsolée, sans rapport direct
avec une activitó concrete de mise en scěne. ainsi, on
a vu nail re beaucoup de marionnettes congues par des
artistes connus comme des ceuvres ďart autonomes
Mais la ou les deux lignes convergaient elles donněrení
naissunce it des scenes qui. par leurssuccěs artistiques
ainsi que par leur recherche, ont contribué, de fagon
importante. a l'essor de Part de la marionnette tchěque.
Dans une premiere etnpe. les ensembles qui avaient de
ťambition, cherchaient á se démarquer du style de mise
en scene des marionnettistes ambulants. jugé déjá
comme désuet et primitif. Us n avaient pas encore de
programme artistique coherent, ils s'efforgaient, a van!
tout, ďaméliorer la qualité des différentes composantes
40
de lu mise en scěne et d'uppliquer les normes esthétiques
de 1'époque. Mais ce processus n avait pas le m é m e
déroulement dans toutes les composantes. Dans bien des
ensembles, les membres amateurs apprenatent seulement
á mumpuler les marionnettes La plupart de ces troupes
pouvaient. sans probléme, faire appel á un artiste professionnei et lui d e m a n d e r d e coliaborer á leur théátre
G r a c e á son concours. i'ensembie pouvait prouver son
orientation artistique r a p i d e m e n t et d e fa^on visible
Ainsi. peu á peu, la position des plasticiens aux théátres
d e marionnettes se renforgait ce qui entrainait parallelement, une certuine sous-estimation des autres
composantes.
Deux théátres praguois sont des exemples représentatsfs
d e ces scenes. Loutkové divadlo Lhnělecké výchovy
(Théátre de marionnettes de 1'Education artistique. créé
en 19141 et Umělecké scéna ftíše loutek i Scéně artistique
du Royaume des marionnettes. c r e e e en 19201 Dans leur
p r o g r a m m e , les deux scenes inscrivirent i éducation
artistique des enfants-spectateurs par rintermédiaire
ďimpulsions artistiques nouvelles Dans leurs grandes
lignes. elles évoluaient. toutes les deux. děs leur naissance.
de maniěre sembiable Cependant certatnes dtfférences
apparurent dans leur travail, surtout dans la conception
artistique des marionnettes et d e la scěne. et nous
permettent de mieux comprendre revolution de 1'art
de la marionnette tchěque dans la pěriode ď e n t r e
deux guerres
Le theatre de marionnettes Umělecká výchova fut créé
en tant que scěne amateur auprěs de 1'Association ďrnstituteurs de Prague Sa creation représentau un acte
histonque pour la premiére řois. un groupe de pédagogues imitait plusteurs artistes á coliaborer afin de
creer. ensemble, une scěne permanente concue. děs
le debut, c o m m e un essai de théátre de manonneues
destine & 1'education esthetique des enfants
Déjá la mise en scene ďinauguration de 1'opéra Drátenik
de František Skroup avait permis á la troupe d e manifester clairement son refus des caractéristiques du style des
marionnettistes ambulants - c'est á dire la stylisation de
la voix et des mouvements. Le p r o b l é m e de 1'expression
vocale fut tranché, au moins dans cette p r e m i é r e étape.
par le choix d une oeuvre lyrique. P a r contre, en introduisant une fagon nouvelle de manipuler les marionnettes
qui permettait d e supprimer la raideur et la maladresse
des m o u v e m e n t s d e la m a r i o n n e t t e et ď a u g m e n t e r
considérablement sa mobilitě, le théátre s'est nettement
e n g a g é dans une v o i e n o u v e l l e . c e l l e d un e f f e t visuel
plus réaliste. c'est-á-dire un effet ďillusion de la mise en
scéně. Ces tendances se manifestěrent notamment dans
la c o n c e p t i o n d e s m a r i o n n e t t e s du sculpteur Hanuš
Folkman (187tí 1936): á la d i f f e r e n c e des m a r i o n n e t t e s
traditionnelles popultures. de sculpture baroque marquee,
elles se distinguaient par un m o d e l a g e b e a u c o u p plus
fin. du visage en particuller, et par la tendance á Imiter,
plus fidělement, les proportions anatomiques du corps
humain. Cette conception s'est encore accotiluóe dans
les a n n é e s 20 ou le c a r a c t é r o du t h e a t r e U m ě l e c k á
v ý c h o v a était f o r m e par les point res Ota B u b e n í č e k
(1871 1962) ot Vu Skala (1883 1967). Bubeníček, on lnut
qu autour do la scéno, cherchait une realisation distlnguéo
des d e c o r a t i o n s , dos c o u l e u r s finos, d e s l u m l é r o s sug
gestives et, en général, uno impression vlsuollo h a r m o
nieuse d e la s c é n o qui dovait é m o r v o l l l o r los potits
spectateurs au lever du rldeau,
Leurs regards découvraient de boaux paysagos tchéques
en couleurs pastel, des representations harmoníeuses de
pays étrangers ou des mondos féeriques, qui cherchaient
touš a présenter I'aspect vraisemblable du lieu de 1'action:
l'exécution d é t a i l l é e de d é c o r s points, dos accossoires
plastíques et de petits details de touto sortě qui complétaient la scéně, tout c e l a soulignant la t e n d a n c e á une
description imitative. II en était de m é m o pour Vít Skála
qui c r é a la plupart des m a r i o n n e t t e s du théátre. Leur
caractére était d e t e r m i n e par la r e c h e r c h e ď u n e f o r m e
artistique noble, par le d é s i r de r a p p r o c h e r la m a r i o n nette d e I'aspect de I ' h o m m e ( t e n d a n c e r e n f o r c é e par
1'utilísatíon fréquente do matéríels authontíques tels que
cheveux, etc.). íl est sígnificatif que lo sculpteur Ladislav
Saloun cherchant a síngulariser les personnages féeriques
41
Autoportrait de YojtCvh Suci u ala
42
Détail vln chapitcau ď u n e colonne dans la cathédrale Saint Guy a Prague, vers 1910
Photo Jin \Jetečka
d une piěce de Marie Gebauerová par un style marqué
Art nouveau tardif. s'est borné á dessiner des costumes
nouveaux de marionnettes. cell es-ri étant restées intactes par
cette stylisation. Cette conception de la marionnette
trouvait sa plus grande appréciation dans des attributs
jugeant les marionnettes comme -vivantes», comme
«en réalité».
Le théátre ftíše loutek (Royaume des marionnettes), créé
par le sculpteur Vojtěch Sucharda (188-1 -1968) et sa femme,
le peintre Anna Suchardová-Brichová (1883-1944). connut
une évolution un peu différente. Dans ce théátre également, la composante artistique est devenue 1'élément
le plus suggestif de la mise en scéně. La scénographie
d'Anna Suchardová-Brichová évoluait d une simple
description du milieu vers des tentatives de le concevoir
de fagon symbolique, au moyen de décors allusifs. pour
aboutir á une scéně dépouillée. formée principalement
par la lumiěre en tant qu elément unificateur et dynamique.
Ces mutations dans l'ceuvre d'Anna Suchardová furent,
sans aucun doute, influencées par les tendances générales
de la scénographie tchéque; toutefois gráce á sa recherche
assidue d'un cadre scénographique ideal. Suchardová
réussit á faire progresser 1'évolution de la scénographie
du théátre de marionnettes.
La carriére de Sucharda, auLour de marionnottos
au théátre ftíňe loutek, n'ost pas moins passlonnanto.
Contrairemenl. aux artistes qui collaborórent avoc lo
théátre Umělecká výchova, Sucharda avail, subl uno forte
influence des marionnettes populalros. On pout, y voir
une tradition famlllale - son grand péro ot son péro
étaient ďexcellents sculptours do marionnottos.
Sucharda se rendait compto de 1'lmportance scénlque
de la sculpture marquée, de 1'accentuation do la l.ólo et
de la physionomie des marionnettes pour leur caractórisation et e'est dans ce sens qu' il créa ses dlables, ondins,
brigands et autres personnagos féeriques ou comiques,
II n'échappa pas, lui non plus, á la tendance de 1'ópoque
qui était ďimiter par I'aspect de la marionnotto celui de
1'homme-acteur, surtout dans le cas do figures fémlnlnes
idéalisées. Mais le correctif de sa création était son sons
de I'effet scénique et sa fantaisie qu'il déployait surtout
en créant dos personnagos féeriques ou íl n'était pas
obligé do respecter la réalité empiriquo. Cela lui
pormettait de styliser I'aspect artistiquo de sos marionnettes et de leur découvrir do nouvelles possibilités do
mouvement et ďexpression, cela gráce á uno réalisalíon
inédite de la forme et a un matérie! insolite.
La critique de 1'époque remarqua la différence de
l'orientation artistique des deux théátres en soulignant
surtout la tendance plus nette de la stylisation artistique
du théátre ftíše loutek. Mais du point de vue historique,
cette différence ne parait pas essentielle. D uno certaine
fa<;on, les deux théátres préféraient I'effet esthétique du
cóté visufel du spectacle. Us n'avaient pas encore trouvé
les procédés appropriés a la spécíficité du théátre de
marionnettes et n'exploitaient pas les facultés extraordinaires de celles-ci. Cétait cette conception anthro43
pomorphique des marionnettes ainsi que le fait, courant,
dans les théátres, d'utiliser un seul ensemble de marionnettes passant d'une piece á I'autre aprěs avoir regu
seulement un nouveau costume, qui les empéchait
d'y parvenir. Ainsi, la possibilitó d'utiliser I'hyperbole
artistique comme la caricature et 1'exagération était
pratiquement limitée par la possibilitó d'une nouvelle
utilisation de la marionnette. Malgré certaines nuances
de style individuel des difřérents artistes, ce phénoměne
ótait caractéristique pour la plupart de nos théátres de
marionnettes amateur. A cet égard, la seule exception
fut Josef Skupa: bion que plastlcien professionnel, il
appuya son anivre sur In fonction thóátralo de In murionnelte, sur ses facultós d'oxprossion théátrale, en tendant,
dans son travail, ti limiter l'hégómonie de I'artiste
Dans les annéos 30, uno nouvelle generation de marion
nottistos contribua, do facon decisive, á une transformation
graduolle do cello orientation. Ces marionnettistes se
rondaienl ploinement c o m p t e du role de la mise en
scéno qui, jusque lit. benelieiait d'une attention minime
Au lieu d'amoliorer les dilTérentes composantes de
maniiVo parallole, souvont non coordonnóe, los jeunes
metteurs en scéno Erik Kolár. Jan Malik du theatre
Umělecká výchova, Vladimir Smejkal du theatre Říše
loutek et d'autres - cherchěrent a c r e e r dos liaisons
structurelles entre les dilTerentes composantes, resultant
d'un projet prócis do mise on scěne. 11 est significatif que
le retrait progressif des artistes des postes de direction
n'a absolument pas entrainé de degradatioii du niveau
artistique: it cette époque. on vit naitre plusieurs mises
on scěne remarquables do la premiere moitie du XX1'
siěcle réalisées avec la collaboration de scénographes.
Dans l'oeuvre de Sucharda se dessina peu á peu une
nouvelle conception de la marionnette. d'une pail, sous
44
I'influence d Anna Suchardová (son projet de marionnettes montées de piěces tournées en bois n'a pas été
réalisé, mais ses suggestions ne sont pas restées sans
écho), d'autre part, á la suite de sa collaboration avec le
metteur en scěne Smejkal. Děs le début des années 30.
Sucharda chercha des matériaux nouveaux et des realisations de forme susceptibles a influencer le sens définitif
írradié par la marionnette. Dans son ceuvre, il n' a pas
renoncé a ses principes basés fondamentalement sur
l'illu.sion, mais il a su trouver le moyen - souvent le mouvement, parfois I'accentuation du matériel - de brouiller
l'effet d'illusion et, grace á i'oscillation entre l'illusion
et sa rupture, il obtenait un renforcement de l'effet
théátral.
Dans les années 1930-35, la scěne du théátre Umělecká
výchova vit s'imposer le talent de 1'architecte Bohumil
Budéšínský (1890-1945) qui, en collaboration avec Erik
Kolár, déploya tout son énergie pour réaliser une transformation du théátre de marionnettes de son temps
Comme auteur de marionnettes. il refusait la conception
de la marionnette con<;ue comme une imitation réduite
de l'acteur et il fut parmi les p r e m i e r s á soutenir
la nécessité de créer, pour chaque mise en scěne. des
marionnettes e n t i ě r e m e n t nouvelles, correspondant
par lour forme artistique et par leur réalisation technique
au projet de la mise en scěne. Avec le metteur en scěne
Kolár, il réussit á mettre en valeur. gráce au renforce
ment des procédés brouillant 1'efTet d'illusion. les capacités
de l'effet métaphonque de la marionnette et á prouver
quo le mondo dos unimaux et des objots inunimés était
trěs proche du théátre de marionnettes. De telles intentions marquěront la recherche scénographique et de
mise en scěne de Jan Malik (1904 -1980) qui se concentrait
sur la fonction de l espace scémque par rapport á la conception de mise en scěne (cf. la mise en scěne ďddipe)
A la fin des années 30. I ceuvre de Budéšínský. sur la
scěne du théátre Umělecká výchova, trouve son continuateur en la personne de František Vojáček (1893-1942)
Celui-ci, par une conception badine et humoristique,
soulignait le caractěre essentiel des marionnettes et
stimulait l imagination des enfants Sa meilleure réalisation scénographique fut la création de la scěne et des
marionnettes pour la mise en scěne du Maitre des rats
d'A Hirsch, une des oeuvres capitales du théátre de
marionnettes de la premiére moitié du 20"" siěcle.
Gráce á la collaboration systematique du metteur en scěne
el du scénographe dans les meilleures mises en scěne des
années 30. la composante artistique fut affranchie de sa
simple fonction descriptive et décorative pour devenir
Félément actif de 1'action théátrale et la porteuse du sens
communique. A cette époque. 1'évolution a prouvé que.
memo dans le theatre de marionnettes. ia recherche de
1'expression artistique constitue un processus qui se
renouvelle sans cesse en venfiant le rapport du projet
artistique á 1'ensemble de la mise en scěne ainsi qu á la
specificite du théátre de marionnettes Les années 30
furent celles de la recherche des fondements de cette
specificite. Aujourd hui. les resultats du travail
des marionnettistes tchěques nous paraissent évidents
Parmí ces marionnettistes. les artistes des théátres Rise
loutek et Umělecká výchova tiennent la place d honneur
Et c est gráce á leur recherche d'hier que nous avons nos
certitudes d'aujourd'hui
A
lmost every artist returns to his childhood at some
point during his life, whether through recollections
and m e m o r i e s o r d u r i n g the c r e a t i v e p r o c e s s itself.
Especially if he experienced a happy childhood surrounded
by his loved ones, like that of e m i n e n t C z e c h g r a p h i c
artist professor Jaroslav Sváb (born 24.5.1906 in Hodonín).
Sváb. now 91, fondly r e m e m b e r s his time spent with his
grandparents in Hodonín and later in Tábor, and his first
experience in theatre, in particular, puppet theatre. The
inspiration f r o m this p r o p i t i o u s e n c o u n t e r m a n i f e s t e d
itself in S v á b s work on several occasions, and to this day
provides him with one of the most vivid images of his life.
"I began w o r k i n g with puppet t h e a t r e in Tábor w h e n I
was a boy w h i l e still studying at s e c o n d a r y school. A t
that t i m e they had a h a n d - p u p p e t s t a g e set up in the
U Médínků' restaurant w h e r e I spent much of my time.
It was p r o f e s s o r K o b r l e at the school w h o i n s p i r e d my
interest in puppets and who was tho first l.o design puppets
based on the work of Mikuláš A l e š . He would b r i n g m o
the heads and bodies of puppets from Prague and Í would
m a k e them up myself. I r e m e m b e r well taking my little
theatre with its tiny puppets to the 'U Těšitelů' pub whoro
w e used to g i v e p e r f o r m a n c e s f o r tho local c h i l d r e n .
From then on I was h o o k e d . T h e r e was also a women's
association in Tábor who used to p e r f o r m theatre. They
had a fairly large marionette theatre with puppets about
30-35 cm tall. Our headmaster's daughter used to perform
in this ensemble and I'll n e v e r forget the time she showed
m e the cupboard w h e r e they kept their entire retinue of
puppets. It was such a wonderful sight and I know then
that I was destined to a life with puppets. My bond with
the theatre which I later performed in Tábor as an amateur
and also directed and designed myseJf, must have been
f o r m e d s o m e w h e r e here..."
45
Professor Sváb had a second chance to run his own theatre during the late 1930s when he designed his own little family puppet theatre, at that 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 to include
a hand-puppet table theatre for a public audience in the
comprehensive applied arts programme organised by
tho 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 .Jaroslav Sváb was running the Officina
Pragensis private school of graphic art (I939-56J, founded
by prof. Steiner in 1934. The school taught applied graphic
art, stage design, poster and bookbinding design and
designs for textiles, toys and puppeLs. Pupils from the
school included painter and graphic artist l.ibor Fára,
stage dosignor Ladislav Vychodil, illustrator of children's
books I Ielena Zmatlíková and tho distinguished puppet
stage designer and graphic artist Vojtéch Cinybulk. Offi
cinu Pragensis not only provided tuition but also gave
hand-puppet theatre p e r f o r m a n c e s for students and
friends in its studio in Dittrlchova street - those involved
in the production of Princezna Cáryplše (The Scribbling
and Drawing Princess) have fond memories of the occasion
to this clay,
Šváb later encountered puppet theatre after the; War this time in an attempt to Influence the dosign of puppet
stages for family theatres. In 1947 tho Vilímek publishing
house published a collection of S v á b s printed stage
designs for small lit 20 cm marionettes entitled "Jaroslav
Sváb's Puppet Theatre". Josef Skupa w e l c o m e d the
publication with tho words: "This issue of printed stage
designs Is a landmark for the genre in this country. As a
theatre dosignor and member of the great Czechoslovak
puppetoor community, I am overjoyod at tho publication
of this work. Wo must surely bo tho envy of everyone, nil
over Iho world. Nothing else like it exists anywhere else
And, as a professional, I can only shower it with praise
for Its wealth of combinations of construction and its free
conception."
Sváb's printed stage designs were extremely favourably
received, however. Ihoy remained an Isolated endeavour,
perhaps also because they were never accompanied by a
V Heads of marionettes hy Jaroslav Svah, Prague W 7 io n)
/'/m/o nn bitvs
46
f o l l o w i n g y e a r w h e r e Jaroslav Šváb d e s i g n e d a s i m p l e
hand-puppet s t a g e and p u p p e t s f o r the C e n t r e f o r Folk
and Art Education. H e also d e s i g n e d a n e w type of puppet t h e a t r e in 1953 c o m p r i s i n g t w e l v e w o o d e n f i g u r e s
turned on a lathe (height 6.5 c m ) which w e r e attached to
stiff w i r e s c r o w n e d with little balls. This s i m p l e artistic
conception e v o k i n g children's toys influenced by folk art
s e e m e d to d r a w i n s p i r a t i o n f r o m t h e w o r l d of S v a b ' s
childhood and boyhood spent in Moravia and Tábor. T h e
design f o r this tiny t h e a t r e " f o r the youngest a u d i e n c e "
was e x h i b i t e d at the E X P O 1958 in Brussels, h o w e v e r ,
sadly nothing e v e r c a m e of its production.
ideas for kindergarten playrooms, such ingenuity, ideas
which were not based merely oil technical skill but also
on a thorough study of the possiblities which theatre repertoire and direction offered. In contrast to the market
attraction of Czech marionettes flooding Prague and
other Czech towns chiefly poor copies of tho so-called
"Miinzberg puppets" from the first few docades of this
century Svab's unrealised designs and their prototypes
are simply a silent testimony to the unheard views of a
great Czech artist on (he new ideas and modern designs
possible in puppetry Lovers of theatre admire and respect
the puppets which survived from the wood carving and
So much endeavour, so much e x p e r i m e n t a t i o n , so many
calls to p r o d u c e r s and p o t e n t i a l a u d i e n c e s ! F r o m pup
pets secured on wires to hand puppets, f r o m ambitious
family theatre to miniature stages f o r children So many
puppet theatre which, in the sphere of applied art, matches
them in many ways, is still awaiting discovery. Perhaps
his puppets will live to see tho era in which they emerged
before their time.
puppetry Bauhaus workshop. Svábs experimentation In
<3jarosIav šváb, puppets and
theatre for small children,
1953-1956
l'h<it<i archill's
< Puppet theatre of Jaroslav
šváb, design for construction,
published by J. R. Vilímek,
Prague 1947
•> Jaroslav Šváb.
photo from the 1960s
Photo Jaroslav Stall
47
P
resque tous les artistes, que ce soit dans leur souvenirs
ou dans leur ceuvres, revíennent au moins une fois
á leur enfance, d'autant plus quand celle-ci fut heureuse
ef, e n t o u r é e d'amour. P o u r le p r o f e s s e u r J a r o s l a v Šváb,
e m i n e n t g r a p h i s t e t c h é q u e qui a c ó l é b r é , Fan d e r n i e r ,
son q u a t r e - v i n g t - d i x í ě m e a n n i v e r s a i r e (* 24 mai 1906
á Hodonín), cos retours en a r r i ě r e é v o q u e n t son e n f a n c e
p a s s é e c h o z son g r a n d - p ě r e et sa g r a n d - m é r e d ' a b o r d
á H o d o n í n el. plus lard á Tábor, ainsi q u e ses p r e m i e r s
contacts avoc le théátre, liés au thóátro do marionnettes.
L'inspiration qu'il va puiser do c e t t e é p o q u e so r o t r o u v e
souvent dans son oouvre et do ses propres mots constituera
I'imago la plus a c c o m p l l e do sa vie.
«J'ai commoncó á lairo du thóátro do marionnottos á Tábor
q u a n d j'ól.ais l y c ó o n . A c e l t e ó p o q u o - l á au r e s t a u r a n t
<U Módínkú', il y avail uno scéno do marionnottos á gant,
oů Jo mo rondais souvonl. C e s t Monslour Kobrlo, mon
profosseur do lycée, qui a óvoilló c h e z moi r i n t é r é t pour
los marionnottos. II fut lo p r e m i e r c r é a t e u r de marionnottos ď a p r é s los dosslns do Mikoláš Aloš. II m'a a m o n é
do Praguo dos l é l o s ot dos corps d o marionnettos ot moi,
jo m o sul» a r r a n g ó pour fabrlquor lo roste. Jo revoís toul.
c o l a c o m m o si ďótail. hier: jo portais mon potit t h é á t r e
a v e c los l o u t o s p o t l t o s m a r i o n n e t t e s au r e s t a u r a n t
<U TéŠitoliV oů nous avons donnó nol.ro p r e m i é r o r e p r é sentutlon pour los onfants dos environs. Dopuis, j'ai óté
passlonnó pour los marionnottos. A Tábor, il y avail, une
amlcalo fómínlno qui liiisn.it aussl du thóátro. C ó t a i l un
assoz grancl thóátro clo marionnottos, a v e c dos marion
noLlns clo :i() 35 cm. La lUlo du d i r o c t e u r d o notre lycéo
ólult ógalomonl, mombro do colto amlcalo ol, jo n'oublierai
jamais lo m o m e n t oú olio a ouvorl, uno a r m o i r e pour m e
I'alro v o i r touto la <l,roupo> do m a r i o n n o t t e s a c c r o c h ó e
i\ 1'intórlour. J'ai ó p r o u v ó uno g r a n d e joio ol. jo mo suis
sonl l, tout clu suito, uttuchó aux marionnottos. C o s t suns
aucun clou to do la qu'osl nó mon lion a vlo avoc lo thóátro
plus turd, á Tábor, j'ai fait du thóátro amateur, do la mise
on scéno, j'ai cróó clos dócors,«
L a c l o u x i é m o rouoont.ro clo Jaroslav Šváb avoc lo thóátro
clo m a r i o n n o t t o s d a l o cli» In fin d e s a n n é e s I r o n t e ou il
cróu un thóátro de marionnottos familial pour lairo plai
sii' á son Ills. C o l t o polito scéno i'amlliulo so contentuit do
moyons ussez slmplos. C o s i on 1940 quo Sváb se volt mis
d o v á n i uno tácho plus cllfficilo: on lui alors d e m a n d o d e
róalisor, p o u r lo t i c h o p r o g r a m m e ď a r t s a p p l i q u é s d o
Dru?,slovní práce ClVavail coopóratif), un thóátro do marionnettos á gant, doslinó au grand public. Dés 1'nutomne do
la m ó m o aunéo, Družstevní práco mol on voňte los marion
noltos ít gant do Sváb, uno construction fonclionnello do
s c é n o a v o c d o s d ó c o r s i n g ó n i o u x . A c o t t o é p o q u e la
(1939-1956), Jaroslav Sváb d i r i g e dójá uno é c o l e p r i v é e
ď a r t s g r a p h i q u e s OlTicinn Pragensis f o n d é e , en 1934.
par lo professeur Steinor. l.o p r o g r a m m e d o c e t t e é c o l e
ótail c o m p o s e ď a r t s graphiques appliqués, do scénog r a p h i e . ďalťichos, do projets do roliures. do dessins toxtiles. d o j o u o t s e t d o m a r i o n n e t t e s . P a r m i los a n c i e n s
é l é v e s do c e t t e é c o l e , on trou v e L i b o r Fara, point r e et
graphiste, Ladislav Vychodil, scénographe, Helena
Zmatlíková, illustrateur d e livros pour onfants ou Vojtéch
Cinybulk, s c é n o g r a p h e d e t h é á t r e d e m a r i o n n e t t e s ot
g r a p h i s t e r é p u t é . O f f i c i n a P r a g e n s i s no so bornait pas
á enseigner, mais dans son a t e l i e r rue Dittrichova. pour
le d i v e r t i s s e m e n t dos étudiunts ot des amis do 1'école. on
48
faisait du théátre avec des marionnettes a gant; ceux qui
ont assísté a la representation d e Princezna Čárypiše (la
Princesse magicienne)
s'en souviennent encore.
Le c o n t a c t suívant d e Š v á b a v e c le t h é á t r e d e m a r i o n nettes a eu lieu a p r é s la g u e r r e - cette fois, on cherchait
á i n f l u e n c e r le c a r a c t é r e d e d é c o r s destinés au t h é á t r e s
de marionnettes familíaux. En 1947, les Editions Vilímek
ont publié, sous le titre « T h é á t r e de marionnettes d e
Jaroslav Šváb», un ensemble d e d é c o r s imprimés. réalisés
par Šváb et destinés á d e petites m a r i o n n e t t e s d e 18-20
cm d e haut, Josef S k u p a acueillit la publication d e ces
d é c o r s en disant: -Ms m a r q u e n t un t o u r n a n t d a n s le
domaine d e 1'édition d e décors imprimés, dans notre pays.
Je m ' e n réjouis en tant que s c é n o g r a p h e et m e m b r e de
la g r a n d e f a m i l l e d e s m a r i o n n e t t i s t e s t c h é c o s l o v a q u e s .
Le r e s t e du m o n d e peut nous e n v i e r N u l l e part, on ne
trouve chose semblable. C o m m e praticien également,
jo dois o x p r i m e r mes compliments; ces décors permettent
uno g r a n d e variété de combinaisons librement congues •
[.es décors i m p r i m é s de Sváb furent trés f a v o r a b l e m e n t
accueillis, mais l e u r publication resta un a c t e isolé du
fail, sansdoute, q u e l l e ne fut pas doublée ď u n e f a b r i c a t i o n
en série do marionnettes. Or, cjuelques années plus tard
(1950), il on fut d e m é m e du projet ď u n théátre familial
réalisé par Sváb pour la fabrication en s é r i e II s agissait
ď u n potit t h é á t r e a v e c q u a t r e c h u n g e m e n t s d e décor.
qu'on pouvait r a n g e r dans une boite. Les potites marion
nettes tournées, dessinées pour c e petit théátre n'ont jamais óté réalisées. Un an plus tard, Sváb voit é c h o u e r un
autre projet, celui ď u n e petite scéno simple pour marion
nettes á gant. En 1953, Sváb dessine e n c o r e un autre type
clo théátre clo marionnettes. comport ant d o u z e figurines
en bois lourné (do 0,5 cm do haut), munies ď u n e tringle
m ó t a l l i q u e s o l i d e , t e r m i n é e p a r uno p e t i t e b o u l e . La
simplicitó do leur conception artistique évoquait clos jouets
populuires et semblait c o n f i r m e r l'inspiration q u e Sváb
avait regu do 1'univers cle son e n f a n c e et do son adolesc e n c e on M o r a v i c et á Tábor. C e théátre minuscule pour
los «lous petits» fut p r é s e n t é á 1'EXPO 1958 á Bruxelles,
pourtant il n'a jamais é t é mis on fabrication.
Quo d e travail assidu, ďessais. que de défis adressés aux
lubricants et au public potentiel! Dés marionnettes á fils
aux marionnettes á gant, ď u n théátre familial ambitieux
á une s c é n ě m i n u s c u l e c o n g u e p o u r les jeux ď e n f a n t s
Quo d e suggestions pour les salles de jeu ď é c o l e s maternelles; que ď i n v e n t i o n s ingénieuses, technologiques. respectant rigoureusement les besoins d e la d r a m a t u r g i e et
do la mise on scéně. A u j o u r ď h u i les marionnettes comm e r c i a l e s envahissent P r a g u e et ď a u t r e s villes tchéques
11 s'agil en m a j e u r e partie de copies médiocres de manonnettes dites « M i i n z b e r g - du début de ce siécle. A cóté
ď e l l e s les projets non réalisés et les prototypes d e Sváb
sont dos témoins muets de conceptions m é c o n n u e s ď u n
eminent plasticien tchéque. esquissant des possibilités
nouvelles et une f o r m e m o d e m e d e la marionnette. Les
m a r i o n n e t t e s qu'on a pu c o n s e r v e r de l atelier d e sculpture du Bauhaus jouissent d e 1'admiration et de l eštíme
du public théátral. Les creations théátrales d e Sváb qui
sont. d a n s le d o m a i n e d e s arts a p p l i q u é s et á m a i n t s
égards. c o m p a t i b l e s á celles du Bauhaus semblent toujours attendre celui qui les d e c o u v n r a et les fera renaitre
P e u t - ě t r e attendent-elles s i m p l e m e n t un t e m p s qu'elles
ont d e v a n c é .
J
osef Skupa (1892-1957) was one of the best-known
personalities in C z e c h puppet theatre. If it can be
said that his birth was propitious, this may s e e m paradoxical. since the First World War broke out before he had
c o m p l e t e d his studies and he had to join the army. But
the p e r i o d of his youth was also a p e r i o d of significant
transformations in artistic currents and styles culminating
in a confrontation b e t w e e n "young" and "old", b e t w e e n
traditionalism and innovation All these facts indisputedly
influenced Skupa's further d e v e l o p m e n t and his e x c e p tional qualities really consist of the fact that while he was
essentially gravitating towards the contemporary developments in artistic trends, he managed sensitively to combine
the traditional with the modern in his work for theatre.
49
later to m a k e his n a m e . Even at the cabarets in "U
Halánku", Skupa appeared with his models for handpuppets and later designs for the heads of hand-puppets,
which he d e s i g n e d f o r serial production in 1917, and
which bore many elements of the grotesque. Even today
we may still find links between these and the appearance
o f S k u p a ' s popularised duo of father and son. i.e the
marionettes Spejbl and Hurvínek. During his stay in
Prague, Skupa no doubt encountered types of puppet
theatre other than cabaret, and he took part in the prem i e r e of Skroup's Dráteník IThe Tinker) in January 1914
at the Divadlo U m ě l e c k é výchovy ( T h e a t r e of Art
Education) in the Vinohrady district of Prague The traditional. even archaic, forms of marionnette theatre of the
Czech Association of Friends of Puppet Theatre which
performed in the Kinský Gardens did not escape his at
tention. Nor was Skupa without e x p e r i e n c e of straight
theatre, particularly concerning the extensive series of
Shakespeare's plays which was organised to mark the
occasion of the 400th anniversary of the poet 's death by
the impressionist theatre d i r e c t o r Jaroslav Kvapil at
Prague's National Theatre. This series was an outstanding
artistic feat, given that this was the p e r i o d of the first
world wur.
In some ways il is possible lo compare the period when
Skupa was studying, lni I 1015, to the 1960s when, in the
world of Czech theatre, the rise of tho small theatres
sometimes known as "the theatres ol'small forms", such
as (ho Theatre on tho Huluslrado, Semaphore, Paravan
was slowly but m a r k e d l y beginning to assert itself
Similarly, immediately bolero tho First World War, impro
vised cabaret evenings and revues ("small forms") w e r e
popular in Prague. Skupa regularly and actively took
part in them while still a student at Prague's School of
A p p l i e d Arts. These student activities often took place
in student pubs. Skupa really was the life and soul of one
of these pubs, "U llalankCi" on Betlémské náměstí He up
poured tltere together with two students of sculpture,
František Fiala, who later became famous as a theatre
and film c o m i c actor u n d e r the p s e u d o n y m F e r e n c
Futuristu; and Karel Dvorak, who was to become an out
standing Czech sculptor. It was characteristically to pre
d e t e r m i n e tho course of Skupa's artistic d e v e l o p m e n t
that he began to study drawing, painting and graphics
under the guidance of such teachers as Arnošt Hotbauer.
František Kysela. Karel Vítězslav Mašek and Karel Spi
lar. In his free time he devoted himself to sculpture and
took the state examination in three dimensional model
ling just utter the war in 1919.
It is clear from the extent of these interests that Skupa
was gravitating towards both stage design and puppet
design, which does not mean that he was from the beginning concerned with the marionnettes with which he was
50
Before entering the Pilsen puppet scene, Skupa had ab
sorbed various tendencies of the period, and his experi
ences facilitated his further activity in that field The beginnings of his stage design work in Pilsen did not take
place in the puppet theatre, but. paradoxically, on the
stage of Pilsen's M ě s t s k é d i v a d l o (Municipal T h e a t r e ) ,
w h e r e the e m e r g i n g artist received an o f f e r from the di
rector, Karel Veverka, to work on an external project. (At
the time hi' was employed as a draughtsmun at the Skoda
works). At the Municipal Theatre Skupa in fact became
the first stage designer to create an original set for just
one p e r f o r m a n c e , which was the p r e m i é r e of Talisman
by Ludwig Fulda in N o v e m b e r 191« (The pructice at the
time was to put together sets out of the theatre's stock of
scenery, o r out of mass-produced standard components.)
Skupa's artistic flair for stage design was significantly
marked by impressionism at the time when his cabaret
hand puppet activities betrayed a feeling for the grotes
que and even impressionistic stylisation of puppets,
which he later put to use especially in his two puppet
protagonists Spe|bl and Hurvínek, who are inextricably
linked with the name of their interpreter
Il is yet another paradox of fate that precisely at the time
that Skupa courageously and successfully e n t e r e d the
territory of drama, he began to think about founding his
own puppet theatre This decision quickly proved to be a
fateful and fortunate one.
A fine amateur puppet theatre. Divadlo Fenálnich osad
("summer camp theatre"), which performed m the Měšíanska
beseda (Civic Hall), had existed in Pilsen since 1912 At
the same time as Prague's so-called "artistic* theatres
wanted to distance themselves by their name from the
itinerant p u p p e t e e r i n g dynasties, e x p r e s s i v e artistic
personalities, who w e r e d e t e r m i n i n g the style of those
stages, stood at the forefront in the Pilsen theatre, which
was relatively w e l l - p r o v i d e d for in terms of personnel
and craftsmanship. They w e r e waiting f o r an outstanding
artistic personality who would invigorate and modernise
the artistically indecisive and fairly backward style of
that theatre. Josef Skupa became just such a personality
in 1917. For thirteen years he influenced and shaped the
company at the Divadlo Feriálních osad as an outstanding
interpreter, designer, technician, builder, d i r e c t o r and
dramaturge. Skupa began to realise his dreams of a mode m puppet theatre by reforming the stage. He "liberated"
the puppet stage of the Divadlo Feriálních osad from the
burden of its baroque features, i.e. from its use of borders,
overbuilt sets, elaborately-painted proscenium arch and
back-drop. He "cleansed" the stage to allow puppets to
p e r f o r m and even shortened the o p e r a t i n g strings to
enable e a s i e r and m o r e vigorous manipulation of the
puppets. Skupa supported this "liberated" stage in an
ostensibly very simple but (for its time) quite unexpected
way: above all by using an ample and striking lighting rig
together with colour filters, thereby achieving an unexpected and emotive effect. This principle, which is illusionary in its basically impressionistic nature, ultimately
b e c a m e symptomatic for Skupa's own theatre as well.
The latter was a professional theatre which went under
the name of "The Pilsen Puppet T h e a t r e of P r o f e s s o r
Skupa" which he founded in 1930.
Quite apart from this are Skupa's relations to the actual
puppets, which he himself not only designed but brought
to completion as m a k e r and actor - as was the case with
other designers. (Karel Nosek designed and carved the
model of the puppet Spejbl in 1920 and, six months later,
the wood carver. Gustav Nosek, created the character of
Spejbl's son. Hurvínek.)
The form of the review, very popular at that time, found
fertile ground in Skupa's theatre and if was not by accl
dent that tin; p r o d u c t i o n m a n a g e r at the t h e a t r e of
Voskovec and Werich al that time worked hard to nogoti
ate permanent cooperation with Skupa's thoatro and to
have them as guests in P r a g u e ' s O s v o b o z e n é d i v a d l o
(Liberated Theatre). Even though this did nol c o m e
about, the closeness of tho two theatres' poetics is evi
dent-both in g e n r e and in the privileged standing of tho
two protagonists.
One may see a certain resemblance to Czech theatrical
poetism in Spejbl's costume in a combination of the
frock coat of a g e n t l e m a n and the c l o g s of a rustic.
(Moreover, interest in puppet costume was typical for
Skupa, as was evident from his first puppet stage works
at the Divadlo Feriálních osad in P o c ď s play Soví hrud
(Owls' Castle, 1917) when the figure of Kašpárek was
given a frock coat. Thanks to Skupa's conception, this
popular puppet theatre figure from the Divadlo Feriálních
osad was transformed into a new form, riot, only iri its costume, which was a caricature of a ministerial frock coat,
but in its entire satirical concept, ft then became a sort of
prototype for the future protagonists in Skupa's theatre.
In connection with this, one ought to r e m e m b e r the figure known as Kukuričňák Duha ("the rainbow maize man"),
the first Skupa type of puppet, which may also be dated
to 1917-1918. The 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 the queues for war-time rations of
51
52
futur et éminent sculpteur tchěque. Un fait caractéristique
détermina le développement ultérieur de 1'artiste: Skupa
c o m m e n g a par les études de dessin, de peinture et d e
g r a p h i s m e assurées p a r des p r o f e s s e u r s r e n o m m é s Arnošt Hofbauer, František Kysela, Karel Vítězslav Mašek
ou K a r e l Spilar. A ses m o m e n t s libres, il se consacrait
également á la sculpture et aprěs la guerre, fut regu encore
á l'examen d'Etat de m o d e l a g e (1919).
début des marionnettes qui, plus tard, devaiont le randre
célebre. C'est au cabaret U Halánkú que Skupa présenta
ses études jouées avec des marionnettes a gant. Les tétes
de marionnettes a gant qu'il dessina pour la fabrication
en série (1917J portaient déja beaucoup de traits grotesques
que nous rattachons aujourd'hui au c o u p l e de marionnettes a fils devenu populaire g r a c e a Skupa - le p e r e
Spejbl et son fils Hurvínek.
Letendue de ses centres ďintérét laisse deviner que Skupa
était attiré aussi bien par la scénographie que par le dessin
de marionnettes. Cela ne veut pas dire qu'il s'occupa des le
Naturellement, au cours de son s é j o u r a Prague, Skupa
d é c o u v r e d'autres types de théátre de marionnettes que
celui du cabaret. En janvier 1914, il assiste a la p r e m i é r e
53
d e Dráteník
(Raccomodeur
de faiences) d e S k r o u p , qui
inaugura le théátre Umélecká výchova (Education artistique)
d e Vinohrady ainsi qu'aux r e p r e s e n t a t i o n s du théátre d e
I'Union t c h o q u e d e s a m i s du t h é á t r e d e m a r i o n n e t t e s
(Český svaz přátol loutkového divadla), théátre traditionnel
et v o l o n t a i r e m e n t archa'ique et qui jouaít au pare Kinský.
Mais Skupa Cut ógalomonl. influence par le théátre drama
tique, la plus f o r t e d e ses i m p r e s s i o n s ayant sans d o u t e
é t ó le g r a n d c y c l e s h a k e s p e a r i e n o r g a n i s e a 1'occasion
du 400" a n n i v e r s a i r e d o la m o r t du p o é t e , p a r J a r o s l a v
Kvapil, m o t t o u r en s c ě n e i m p r o s s i o n n i s t e du T h é á t r e
National de Prague, Dans un con texte d e guerre, il s'agissait
ď u n e manifestation artistique e x c e p t i o n n e l l e .
Or, avant ď i n t ó g r e r le milion du thóátro d e marionnettes
do Plzeň, Skupa se laisso í m p r é g n e r d e dilférontes tendan
cos do 1'ópoque et g r á c e á cette e x p é r l e n c e , il put mioux
d ó t o r m i n o r sos c h o i x . C u r i e u s e m e n t , ses d é b u t s d e
scénographe n'ouront pas lieu dans un thóátro do marion
nettes, mais au T h ó á t r o municipal do P l z e ň . En e f f e t , le
jouno artiste (á colto é p o q u e dossinateur technique des
usines S k o d a ) ret; Cit. uno o f f r e d o collaboration de la part
du d i r o c t o u r K a r o l V e v e r k u S k u p a d e v l e n d r a ainsi lo
p r e m i e r s c é n o g r a p h e ii c r é o r , au T h ó á t r o m u n i c i p a l d e
P l z e ň , d o s d é c o r s d e s t i n é s á uno s e u l e m í s e on s c e n e
( j u s q u e la, 11 é t a i t c o u r a n í d o m o n l o r les d ó c o r s du
f o n d du t h ó á t r o ou ď ó l é m o n t s 1'abrlquós on s é r i e ) I.a
p r e m i é r e do la piéco Talisman out lieu on novombre I9lfl.
Lo stylo s c é n o g r a p h i q u e d o S k u p a é t a i t n e t t e m e n l
m a r q u ó par I'lmprossionnismo landis que ses spectacles
do cabarol, avec les marionnottos a gant, trahissaiont un
sons tin grotesquo, volro m á m o ď u n e stylisation e x p r e s
sionnlsto d o m a r i o n n e t t e s . C o stylo m a r q u a surtout lo
couple do marionnottos protagonistos Spejbl ot 1 lurvínok,
Indisociablos dósormais du nom do leur interprete.
Un autre p a r a d o x e du dostln: au m o m e n t ou il s o n g u g e ,
a v o c c o u r a g e o l s u c c ó s , duns lo d o m a i n e du t h ó á t r o
clrumuliquo, S k u p u p r o n d lu d e c i s i o n d o f o n d e r son
p r o p r o thóátro do marionnottos. ( ' o l i o decision dovru se
róvólor, trés lot. cupitalo ol hourouso.
Bohumil Krs, Duha Kuhuřičúak, inaricinnette du c.iharel
de Josef Skupa, Plzeň 1918
Photo archives
Dos 1912, il y avail u IT/.eé un bon théalro tle murionnotles
amulour, Divadlo 1'erialnich osad ( T h é á t r e do colonies de
vucuncos sos b ó n é f l c e s sorvulonl á p a y o r los vacancos
dos onlunls pauvros), C e théátre jouall á Méftťanská besedu
Les g r a n d s theatres d o marionnottos pragois, dits «artis
l i q u o s » , c h o r c h a i o n l á se d é m a r q u e r , d o p a r leur n o m
m e m o , do la production des dynasties do mnrionnettistes
umbulunts, lis étaient dirigós par des individuulités artis
liquos qui dotermlnuiont le style do IOUIN scones I o theatre
do P l z e ň . lui. tout on bénéfieiant ď u n appui artisanul et
personnel solido, utlenduit toujours un personnugo oroatiť
capable d o dynamisor ot ď a c t u a l i s e r lo stylo hesitant et
l é g ě r o m o n l «ringurd* do co theatre
m i s e r lu m a n i p u l a t i o n P o u r r e n f o r c e r I ' e f f e t d e c e t t e
s c é n o « l l b ó r é e » Skupa se sert d e m o y e n s s i m p l e s mais
i n é d i t s á c e t t r e é p o q u e . A i n s i . p a r une utilisation
e x t r é m e m e n t v a r i é e et originále d e lumiéres et de filtres
c o l o r é s . il o b t i e n t u n e é m o t i v i t é et une a t m o s p h é r e
inattendues. Cette muniére de faire illusion, au fond. assez
impressionniste d e v r a caractériser. plus tard. son p r o p r e
théátre (on 1930. il c r é e une scéno professionnelle portant
le nom du «Théátre de marionnettes du professeur Skupa
do Plzeň»). 11 en est tout autrement du rapport d e Skupa
a v e c los m a r i o n n e t t e s qu'il d e s s i n e l u i - m é m e et q u i !
p a r a c h é v e t o u j o u r s c o m m e u u t e u r et a c t e u r m é m e si
elles ont é t é c r é é e s par un autre dessinateur (La marionnette do Spoibl fut d e s s i n é e et sculptée par Karel N o s e k
on 1920 Si\ ans plus tard. le s c u l p t e u r sur bois Gusta\
N o s e k crea la figurine ď H u r v i n e k . ) .
C'osl Skupa, scénographe, tochnologuo et constructour,
m o t t o u r on s c é n o ot d r a m a t u r g e , qui p e n d a n t 13 ans
á p a r t i r d o 1917 vu i n f l u e n c e ! ' ot f o r m e r la t r o u p e du
theatre Koriálmch osad. II c o m m e n c e a róaliser ses roves
ď u n theatre do marionnottos m o d e r n o par la r e f o r m o d e
la scéně. II « l i b é r e » la scéno du petit theatre do son fat ras
baroque d e s IVises. do l e n c o m b r e m e n t d e la scéně, d e
la somptuosité do I'avunt scene pointe ot d e 1'arriéiv plan
11 « n e t t o i e » lu s c é n ě p o u r f a i r e p l a c e au jeu d e s m a r i o n
nettes dont il raccourcit los fils pour en faciliter ot dyna-
La r e v u e , g e n r e trés en v o g u e á c e t t e é p o q u e . trouva un
milieu p r o p i c e dans le théátre d e Skupa C e n est pas un
h a s a r d si l e d i r e c t e u r d e p r o d u c t i o n du T h é á t r e d e
V o s k o v e c et W e r i c h n e g o c i a la c o l l a b o r a t i o n p e r m a nente d e Skupa et d e sa troupe en representations
r é g u l i ě r e s au O s v o b o z e n o divadlo ( T h é á t r e libere 1 d e
P r a g u e Bion q u e c e l a n e se soit j a m a i s r e a l i s é . 1 a f f i n i t é d e s p o e t i q u e s d e s d e u x t h e á t r e s est e v i d e n t e qu'il s'agisse du g e n r e ou d e la p r e d o m i n e n c e d e s
d e u x c o u p l e s d e protagonistes
Une certaine parenté avec le poétisme théátral tchěque
peut étre remarquée m é m e en ce qui c o n c e m e le costume
de S p e j b l - son habit b o u r g e o i s a c c o m p a g n é de sabots
rustiques. (D ailleurs. 1'intérét qu'il portait au c o s t u m e
des marionnettes était une des caractéristiques de Skupa
- par exemple. dans la piěce de Pocci Soví hrad Ge Chateau
des hibous). une des p r e m i ě r e s realisations de Skupa au
théátre Feriálních osad (1917). la f i g u r i n e de Kaápárek
(Guignol) portait déjá un habit. Gráce á la conception de
Skupa, ce personnage p r é f é r é du théátre Feriálních osad
s est métamorphosé - non seulement de par son costume,
caricature de 1'habit ministériel. mais de par sa conception
satirique dans son entier - pour devenir la préfiguration
des futurs protagonistes du Théátre de Skupa A ce sujet,
il convient de r a p p e l e r la figurine du Kukuřičňák Duha
le p r e m i e r t y p e de m a r i o n n e t t e con<;u par Skupa dans
les années 1917-1918. La figurine ď u n bonhomme portant
une g r o s s e m o u s t a c h e et une s o r t ě d e t e n u e m i i i t a i r e
caricaturait 1'unité ď a g e n t s a u x i l i a i r e s de la ville d e
P l z e ň , c h a r g é s de m a i n t e n i r i ' o r d r e dans les q u e u e s
devant les boulangeries ou les gens venaient c h e r c h e r
leur ration de pain noir pendant la guerre. Le personnage
de Kukuřičňák est comique et important, celui de Spejbl
mécontent et raleur, mais le lien les unissunt est incon
testable Les déformations des visages des marionnettes
de Skupa soulignaient leur caractěre caricatural et g r o
tesque, r e n f o r c é e n c o r e par la voix c o n t r a s t é e qu'il
prétait á ses marionnettes: la basse profonde do Spejbl
et le fausset aigu d'Hurvmek. Or, ce íVétait pas la p r e m i é r e
fois que Skupa utilisait ce principe il lavait déjá applique
dans 1'interprétation du double role de Rybreoul Johanes
(basse) et du petit tailleur Cetnerka (fausset). C e fut sa
p r e m i é r e realisation au théátre Feriálních osad (1917)
dans une mise en scěne de Pan Johanes (Monsieur Johanes)
ď A l o i s Jirásek. Pour trouver 1'inspiration du c a r a c t ě r e
du célěbre couple d'acteurs en bois Spejbl ot Hurvínek,
on pourrait r e m o n t e r aux roles de Kašpárek (Guignol),
de Skrhola ou de Kukuřičňák que Skupa avait crees sur
cette scěne, roles qui lui avaient pormis, gráce á son don
de 1'improvisation et son talent burlesque, do gngnor la
favour du public de Plzeň bien avanl la naissance de cos
deux m a r i o n n e t t e s . d e v e n u o s p o p u l a l r e s par la suito.
Des photographies des originaux de Spejbl ol llurvinok
montrent cos niarionnett.es plus dólbrmeos, plus carlca
turales quo ne le sont les monies mai'ionneltos iltillsoos
plus tard, modifiées et affinées par plusiours artistes (Jiří
Trnka parmi d'aulres), conibien on s'osl olforco do soullgnor
leur type dramatique.
Plus tard. on a ajouté au couple Spejbl llurvinok d'aulres
figures Mánička, copine d'Hurvinelt, ol un autre person
n a g e typique, celui do M a d a m e Drbálková, c o n c i e r g e
bavardo, m é l a m o r p h o s ó e , au boul d'un certain lomps,
en taille C a t h e r i n e , p a r o n t o d e M á n i č k a el p e n d a n t
féminin naturel de Spejbl; on n'oubllu pas Zeryk, lo chlon
d'llurvinok, mombre linportanl do la -I'amlllo I'oullloton»
Malgró tous t es changomonts ol g r a c e á lour euruelěro
caricatural el a une (crtaino deformation artlHllque, it leur
mobilité ol leur aptitude a representor los situations dra
matiques los plus varióos, ces personnages sent dovonus
de vrais types dont la p o p u l a r i t ě a survécu á lours
i n t e r p r ě t e s (Josef Skupu ainsi quo son s u c c o s s e u r
Miloš Klrschner).
Skupa lul un artisto multiple. Dans son languge non
l i t t é r a i r e , p r o l o n d é m o n t t h é á t r a l , la s y m b i o s o do
l'auteur, de l'artiste, du metteur on scěne, du tochnologuo
et do I'inlerprote devait produire un el'fet homogěne, l.e
p r i n c i p e u n i f i c a t e u r du t h é á t r e do S k u p a ótait duns
le c a r a c t ě r e caricatural des diH'érentes f i g u r e s qui so
d é m a r q u a i e n t n e t t e m e n t de 1'exócution dos marion
nettes de la période précédonte, neutřes du point d e vuo
artistique et caractérisóes, jusque la, par un costume his
torique, voire m é m e nutional.
Enfant de son temps, Skupa osclllait entre les prlncipos
impressionnlstes de la scěne dénudóe pour uri jou plus
libre de la marionnette et les tendances expressionnistes
du c a r a c t ě r e a c c e n t u é de la m a r i o n n e t t e en tant que
t y p e d r a m a t i q u e . G r á c e a ses q u a l i t é s d ' a u t e u r et
d ' i n t e r p r e t e . Skupa réussit a surmonter la discordance
de ces deux tendances de m é m e qu'il sut p a r f a i t e m e n t
balancer la tradition populaire de I'art de la marionnette
et son actualisation a d e q u a t e dans le c o n t e x t e d e la
réalité et de I'art de son temps.
L ' e f f e t de ces deux t e n d a n c e s d e S k u p a lui valut le
succes aupres des spectateurs, succés qui devait aboutir
a la creation de sa p r o p r e scene professionelle en 1930.
II est incontestable, aujourd'hui, que la fondation de ce
t h é á t r e p r o f e s s i o n e l d e S k u p a fut d ' u n e i m p o r t a n c e
primordiale pour la constitution du futur réseau professionnel de t h e a t r e s r é g i o n a u x de m a r i o n n e t t e s dans
notre pays.
55
'...puppets are my fate!"
not, at least at some time or other, fallen vicW hotimhas
to the magic of the puppet?
For many they were no more than a mere plaything, a
pastime which left behind il only a nostalgic momoiy For
others (lie puppet became a bridge whereby they could
return to their youth, to the revival of a long-ago pleasure: that is the case with all those diligent amateurs who
56
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 to be a mere thing of wood
and material, wire and string, is not even an imitation of
the living actor. It stimulates them, provokes them to
thought about the essence and effect of the animated figures. lures them into its territory
That was how it was from the beginning with Jih Trnka
Puppets were for him a revelation, the intimate companions of his boyhood dreams He behaved towards them
with a committed seriousness and never - and this is
characteristic - imposed his own will on them No sooner
than - gifted with an exceptional dexterity and artistic
sensibility - he was able to do something for himself than
he started to manufacture his own little puppets and scenery. for at the same time the draughtsman was developing in htm. and he served the domestic model theatre
with all his varied gifts. But f am running ahead of my
self: after his initiation Trnka had to go through a period
of grounding - healthy and apparently very important
For as a schoolboy, Jiří Trnka met Professor Josef Skupa
"Skupa opened wide the gate ot art for me"
The wise professor of drawing immediately caught wind
of something; here was an unusually gifted young stu
dent, clearly groping around, mimicking, but with something in him already struggling to get out, and passionate
about puppets One day Jiri Trnka crossed the threshold
of the amateur theatre Divadlo Feriálních osad {"summer
camp theatre*} m Pilsen and found himself in the
atmosphere of a real theatre It was here that he learnt
that the puppet scarcely knows boundaries, that it is able
to suggest to the audience whatever the one who is
controlling it wishes That was demonstrated on ihe one
hand by ihe old principal Karel Novak with his old
fashioned honest play-acting, which with its rolling
diction and dramatic flourishes covered the range from
dramatic encounter to waggish wit; and on the other by
Josef Skupa, moving towards a new and inventive polished
relevance, sensitivity, metaphorical foreshortening, visual
games and word play. Grace and roughness, sorrow and
merriment, everything could alternate on stage, interpenetrate, be 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 the young Trnka during that
time. He saw how circumspect Skupa was in divesting
himself of the strait-jacket of tradition, preserving only
that which was primary and permanent. He saw how in
this way the puppet became ever more dynamic and
challenging. And he would not have been himself if he
had not wanted to join in actively, to design the scenery
and the puppets, to react independently to the impulses
of his master and model. Trnka made the figures entirely
himself, from the first sketches to their realisation in
material form, which in my opinion had a decisive effect
on his film poetics; it increased the intimate symbiosis
with the puppet, refined the inventiveness of animation and this unlimited confidence ensured that Trnka would
E>Jiri Trnka. Athlete, design for a variety show puppet
for the Pilsen puppet theatre of Josef Skupa. 1930s
Private collection
t>Jirí Trnka. Innkeeper, design for a puppet from a production
of the play Ruler of the Oceans by J. Kuncman. Theatre
-Divadlo Feriálních osad", Pilsen 1935
I'riv ate collection
Photos Viktor Kronhauer
57
A.lirí Trnka, (iod/alhcr, design lor a puppet
Inr the production Ikvllcs, alter the hook by Jan Karali.it,
I>Jlří Trnka, l.lttlo Ihvtlc. puppet loi lite production ol Ikvllcs
Wooden Theatre, Prague 10
Private collodion
I'holiis \'íktnr Knuthaucr
a l w a y s h a v e e x a c t l y t h o s e a c t o r s and t y p e s that he
n e e d e d . His i n d e p e n d e n c e of others brought an essential
a d v a n t a g e with it; it. e n a b l e d him to curry out his o w n
ideas as c o m p l e t e l y as he could i m a g i n e This w a s con
firmed at the two puppet exhibitions in P r a g u e (1929 and
1031), w h e r e Trnku s h o w e d his original literary puppets
for the first time: Don Quixote, Sancho Pan/a. Macbeth.
H a m l e t , M o r c u t i o , Kuust. The c o n t a c t s b e t w e e n the
toucher and pupil w e r e not interrupted e v e n when Trnka
UTl for the School of A p p l i e d Arts in P r a g u e He continued
to m a k e puppets to o r d e r f o r the r e p e r t o i r e of Skupa's
theatre and pictures showing Spejbl and Hurvínek (one
of t h e m r e m a i n e d f o r a l o n g t i m e the e m b l e m of the
> | i h I i nk.i. Mr I'tistach. from a production of the pla\
Mr Hustach. the lk>i> <uiJ the Sultan h\ lose! Men/el
Wooden I'heatre. Prague 103"" Private collection
Photo I iklor
Kroriluitnr
58
|ih Trnka, design lor a scene
from lioklonťs Utir, Naiion.il
I'healtv. Prague l l ) l l
Photo an híivs
Theatre of S+H). Nevertheless, while he was studying,
puppet theatre had to take a back seat; Trnka - as was
always the case - did not allow any part of his work to be
neglected. With elan and proverbial diligence he wholeheartedly threw himself into painting and printmaking,
and in spite of his youth soon became a personality worthy
of attention.
"I loved reading and drawing from the time
I was a boy!"
Books were the third support for Trnka. The power of the
epic in stories and fairytales, the splendour of his mother
tongue in poetry, the weight of ideas and evidence in encyclopedias, the excitement of the drama - all this enriched and stimulated him. Trnka's inspiration was thor-
A J i ř í Trnka, designs
lor costumes lor Shakespeare's
Winter's 7'cilc, National Theatre,
Prague I'Xil
Photo archives
59
•"1V Jiří Trnka, puppets from the film Old Czech Legends.
1952 / Private collection
Photos Viktor Kronhauer
oughly bookish (and I am not speaking about illustrations).
He himself said that his original, embryonic interest
in A Midsummer Night's Dream came very early on. As
a student he was leafing through Puppet Plays from
Shakespeare, which were abridged versions of a few of
the plays for what were known as "Alešs 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. Karafiát and others appeared in the exhibitions His films too were made on the
basis of literary models: Andersen. Hašek. Jirásek. Chekhov, Němcová. And Ruka (The Hand)? Even that is a free
variant on Durante's French plays for hand-puppets.
At the end of his studies Trnka began to pursue the vision of his own stage. "We want to have a permanent
puppet theatre in Prague" he wrote in one of his letters
Overflowing with energy, convinced he could do it
through his own resolve, he took advantage of the situa60
tion and, surrounded by a handful of faithful friends, energetically began to establish a stage in the Rokoko hall
where, under nobody's shadow, beholden to no one, he
could demonstrate his distinctive creative intentions. He
had in front of him an attractive model: Josef Skupa, who
put aside the security of a professorship and launched
himself on the risky c a r e e r of the m a n a g e r of a puppet
show.
Trnka's Wooden Theatre
Jiri Trnka's new theatre opened on 13th September 1936.
He premiered four productions in a season which lasted
just under a year. Audiences were immediately captivated
by the beauty of the p e r f o r m a n c e s . Trnka invested in what else? - the spectacular, the poetry of colours, lights
and shapes. In this he was already an uncontested master. He had the f e e l i n g that painted s c e n e r y and the
gracefulness of the figure, joined with careful animation,
would k e e p the audience in a state of continuous exaltation. E v e r y w h e r e , in scene a f t e r scene, could be seen
characteristic moments of Trnka's lyricism. (In the future
this would be praised and eulogised as the characteristic
note of Trnka's films.) Despite this, audience interest began to slacken. T h e performance, though intended "only"
for children, lacked a dramatic quality. From the bodies
of the puppets issued only anaemic chattering; no attention had been paid to theatrical language, as essential to
the animation of the figure as movement, Trnka had not
realised that visual artistry without the support of a
worthwhile text cannot stand on its own in the theatre.
The end of his enterprise was in sight.
If Trnka had met with a poet of equal genius, then our
culture might have been enriched by a new distinctive
form of puppet theatre from the world of myths and legends,
with joyful, sunny and heroic features - exactly the qualities he brought to his book illustrations o v e r the next ten
years, especially the popular Czech books for children Broučci (Beetles1 by Jan Karafiát, stories about, the bear
Míša Kulička by Josef M e n z e l , Karavana by Wilhelm
Hauff, České pohádky <Czech Fairy Tales), Grimm's Fairy
Tales, Kormiclelník
Vlnovský (Helmsman Vlnovský) and
many more, including Charles P e r r a u l ť s Tales of Long
Ago. These qualities w e r e found too in his work as a
61
still owing to the puppet. He knew that they w e r e not
and would not be a variation on the live theatre, not
even its supplement. And at the same time they would
not be just a means of p r e p a r a t i o n f o r children b e f o r e
they attended the big theatre. T m k a felt that movement
and voice transposed into material w e r e the basis of one
of the human forms of energy. That puppets are autonomous, exclusive, impossible to replace. He waited f o r the
right m o m e n t to summon him to his new work This
came when Jiří Trnka entered the studio of animated
film. In the course of several short films he verified it in
work with the camera, montage and other technical aspects
stage designer in the 1940s with Jiří Frejka at the National T h e a t r e - Goldoni's Venetian Masquerade.
Shakespeare's The Winter's Tale. Plautus's Pseudolus. Hebbel's
Gvgtfs » n d sein Ring. Josef K a j e t á n Tvl's
Strakonicky
dudák (The Strakonice
Bagpiper). During this time he
s t o p p e d w o r k i n g with puppets, but this did not m e a n
that lie had abandoned them. Trnka's puppets showed up
everywhere ( e x p e r t s can even find them hidden in his
illustrations); he b r o o d e d about them; recapitulated his
e x p e r i e n c e s , both stimulating and bitter: looked for the
reasons for his failure; and sought for that which was
62
"Film is a marvel of technology... certainly.
But it has taken a long time to confront the
possibilities of the puppet!"
Why did he turn to film, why did he harness it in the service of his figures? In my opinion, he intended to rehabilitate himself as a puppeteer Everything that went wrong
for him in his Wooden Theatre at the Rokoko, everything
that constrained him (including his youthful inexperience
he now had the opportunity to put right and o v e r c o m e
Film seemed to Tmka. until he got used to it. to be almost
prodigally wealthy and all-powerful.
Naturally. Trnka adapted Film to his own plans; he wanted
to give the puppets what was theirs, to reveal what was
hidden in them, as though he was trying to make up to
them for what he had been unable to do during his debut However he did not allow film to outstrip the puppet
with its sparkling tricks, its gags, its non-players, did not
even experiment with filmic sleight-of-hand He gave the
puppet precedence even over film convention, deliberately sinned against film editing, rhythm and pictorial
composition in order to suit the puppet. The difference
between him and others who have similarly concerned
<3 Puck, a puppet from
the film A Midsummer
Sight s Dream. 19571>
Private collection
Photo archives
<1 Puppets from
the film A Midsummer
Sight 's Dream. 1957
Private collection
Photo archives
themselves with puppet films is noticeable. In Trnka
there is a respect towards the created actors, a stubborn
and sincere respect. He performs a service, holding in
regard the nature and mystery of the art of the puppet;
he makes no attempt to be over-clever, to speculate, to
create little mannequins, to try to shock.
Trnka passionately believed in the animation (anima:
soul) of puppets, and struggled not to cause disappointment not only to his audiences, but also to his amenable
actors.
Only one who relied so completely on the puppet, who
weighed it so thoughtfully and harnessed it Into his plans
with such concern, could have the courage for Špalíček,
o r sing with n i g h t i n g a l e on the b o r d e r s of death in
Císařův slavík (The Emperor's Nightingale),
or march into
battle with Č e s t m í r in Staré pověsti české iOld Czech
Legends) or wander into the realm of Oberon. In this was
Jiří Trnka's triumph: through film he m a d e the puppet
absolute! Through film he achieved recognition for the
puppet, led the audience to the refreshing spring of imagination, established an outstanding place in the history
of world cinematography. But his acclaim as a film maker
does not change our opinion that Jiří Trnka will always
stand as a painter and puppeteer, who amongst his other
work made creations for the screen
Qui n'a jamais succombé au charme de
la marionnette?
eaucoup n'y voient qu'un simple jouet Jouet d'enfan
ce, distraction p a s s a g ě r e . qui laisse un s o u v e n i r
nostalgique. D autres. pour qui elle est une passerelle
vers leur jeunesse, peuvent revivre un plaisir refoulé. C e
sont tous ces amateurs passionnés qui font du théátre de
marionnettes. Mais il y a aussi ceux pour qui la rencontre
avoc la marionnette marque un moment décisif de leur
vie. Soudain, ils d é c o u v r e n t une sortě ď é t i n c e l l e m e n t
magique suscité par la possibilitó d'animer un maténau
mort lis resteront m a r q u é e s pour vie Pour ceux-lá. la
marionnette cesse d etre un simple objet de bois, d e tissu.
du tringles et de fils. sans devenir toutefois une simple
imitation de l'acteur; elle excite, uměné á la réflexion sur
l'essence et l'effet des figurines animées, elle attire
irrésistiblement dans son univers ...
B
Jiří Trnka ful de ceux. pour qui les marionnettes sont
une révélation. Elles sont pour lui des amis intimes de
ses r é v e s d'adolescent. II les v é n ě r e respectueusement
et - fait significatif ne les traite jamais avec supériorité.
Doué d'une hubileté e x c e p t i o n n e l l e et d'un grand sens
artistique, il c o m m e n c e , trěs jeune, á c o n f e c t i o n n e r de
minuscules marionnettes avec leurs décors. Cela révěle
sont talent de dessinateur qu'il met au serv ice du petit
théátre familial. Les marionnettes ne laissent plus lamais
Trnka sortir de leur c e r c l e magique Mais n'allons pas
t r o p v i l e A p r ě s c e t t e initiation. Trnka va passer par
l'étape de la formation qui lui sera bonéfique. et au lycée.
il feru une rencontre essentielle. celle du professeur Skupa
Skupa m'a ouvert grande la porte de I'art
C e briliant professeur de dessin flaire un talent 11 a affaire
á un étudiant qui tátonne. naturellement. imite. tout en
essayant de travailler á sa maniěre. et qui est passionne
pour les marionnettes. Un jour. Jiří Trnka franchit done
ie pas du théátre d'amateurs -Divadlo feriálních osad*
( T h e a t r e de colonies d e vacances) pour se r e t r o u v e r
dans 1'atmosphěre d un vrai theátre let. il va découvnr que
les competences de la marionnette sont presquilltmitées
qu elle suit suggérer au spectateur n importe quoi. au gré
de celui qui la manipule Un de ceux qui le démontre par
son art de c o m e d i e n honnéte mais un peu désuet, e m brassant p a r sa diction tonnante et ses g r a n d s gestes.
touto une g a m m e d'expressions allant de i'affrontement
d r a m a t i q u e á la plaisanterie aigue. c est Karel Novák,
patron de la troupe. Josef Skupa lui tend plus vers une
64
E> Jiří Trnka et Břetisla\ Poj.tr
au cours du travail Mir le film
le So/ige cl u ne nuit d etc. 1957
V Animation de la marionnette
de Thésée tin Sonf>e dime
unit
ďělé. 1957
Photos archives
fagon nouvelle et révélatrice, vers une boulado llno, vors
1'émotíon, le raccourci mótaphorique, vers um; salllie
visuelle et verbale. Tendresse et rudesse, tristesse et joie,
toul cela peut se succóder sur la scěne, se méler, s'entasser.
I.a revelation que «les marionnettes savent exprimer
tous les sentiments humaíns, tou les les impressions,loutes
les passions* constitue la plus grand'; découverle que le
jeune Trnka va faire a cette époque. II voit Skupa se
débarrasser prudernmerit de la carapace de la tradition et
ne garder que 1'essentieJ et 1'immuable. II voit alors
la marionnette devenir de plus en plus dynamique, de
plus en plus exigeante, Et ce ne serait pas Trnka s'il n'avait
pas voulu y partíciper actívement, dessiner des décors,
des marionnettes, róagir a sa maniere aux suggestions
65
de son m a í l r e et m o d e l e . De 1'esquisse a la realisation
matérielle, Trnka crée ses propres figurines, ce qui, á mon
avis, détermine fondamentalement sa poétique m é m e
de cinéaste; cela renforce sa symbiose avec la marionnette,
afíine I'imagination de I'animateur. Gráce á cette souveraineté absolue, Trnka aura toujours les acteurs et les
types precis dont il aura besoín. C e t t e i n d é p e n d a n c e
offre 1'avantage non négligeable de permettre a 1'auteur
de r é a l i s e r p l o i n e m e n t sos projets. C e l a se c o n f i r m e r a
lors do deux expositions do marionnettes, tenues a Prague
(1929 et 1931) oů Trnka prósentera, pour la premiére Ibis,
ses originaux do marionnottos, inspiróos des sujets littéraíros: Don QulchoLto, Sancho Panr;a, Macbeth, Hamlet,
Morcutio, Faust. A p r é s le dópart de Trnka pour P r a g u e
oů il continuera sos études á I'Ecolo des Arts décoratifs,
los contacts onl.ro lo prolossour oL l'élévo no soront pas
rompus. Trnka cróo, conlormómont aux besoins du répertoire du thóátro do Skupa, do nouvolles marionnettes, de
nouvollos images do Spejbl ol ď l l u r v í n e k ď u n e ď e l l e s
doviondra pour longtomps 1'omblémo du T h ó á l r e S+H).
Nóanmoins, pondanl sos óludos, lo théátre de marionnottos passe au second plan: Trnka - c'osl sa caractéristique
- no báclo jamais rion. Avoc 1'ólun ot I'upplication qui lui
sont propro.s, Trnka s'attaquo á la polnturo, á 1'art graphique
ot, malgró son jouno ágo, dovlent biontót un porsonnage
remarquablo.
Děs ma petite enfance, j'aimais dessiner
et líre
L'arli do IVnlca ti oncoro un autre point d'appui los livros
La lorco óplquo dos róclts ou dos contos de fóos, la boautó
clo la languo matornollo 011 vors, lo poids cli* lu ponséo ot
du document non Uctil', l ómotion ómanantdu dramo toul
cola ronrichll, ot 1'ópanouit. Duns touto son uiuvro, ot pus
soulomont duns los illustrations ot los peinturos, Trnka
s'inspiro ossonliollomont do lu llttóraturo. II u lui m e m o
o o n l i r m é quo son Intórél p r o m i o r pour lo Songe
ďune
nuit ďóté était. nó longtomps avant lo film. Etudlant, il
Ibulllotaii lo rocuoll UnUkavó lny ze Shakespeara (Pieces de
inarUmneUcs ďapr&s Shakespeare) compronant dos vďsions
raccourcios clo plusieurs pieces adupléos pour los marion
nottos elites «d'AloS». Los illustrations 011 couleurs qu'il
trouvii dans co llvro lo cluirmérent. G r á c o á olios, il so
roncl complo quo la polito scéno pout acueillir égalemont
los grancls liéros de la littóruluro classiquo. l)'oů ses per
sonnagos do Cervantes, Maeterlinck, /.oyer, Swill, Carroll,
KuruluU, etc:., pivsontoos lors des expositions monlionneos
Los films tournés par'IVnka s'inspirenl, oux aussi. d'evuv
res llttérairos: A n d e r s o n . I luňok, Jirásek. Tchékhov.
Némcová. Lo film Huka (la Main) osl aussi uno variation
libro d uno p i é c o I'ranvaise pour m a r i o n n o t t e s á gant,
do la plumo do Durunty,
A la Un do sos eludes, 'IVnka est obsédé par I'idoo do c i v o r
sa propre scéno. «Nous voulons lairo...du theatre do ma
rionnotl.es pormanonl á Prague», ocrit il dans uno lottre.
Ploin ď ó n o r g i o et p e r s u a d e qu'il sauru a c c o m p l i r sos
dossoins, il prolito do circonstancos favonibles ot commence
á construire, a v o c uno p o i g n é e d'amis Fidéles. dans la
sallo du theatre Rokoko, uno scéno oil il pout réaliser ses
projets artistiquos sans avoir á travailler á I'ombre do
quelqu'un d'autre, sans otro tribulaire do quiconque. 11 a
un modélo tentunt: Skupa qui a abandonno un poste sur
de professeur pour risquer uno c a r r i o r e incertaine de
«patron d'un théátre do pant ins».
(36
Le théátre en bois de Trnka
a été inauguré le 13 septembre 1936. Au cours d une saison qui a duré á peine dix mois, il a monté quatre piéces.
Des la p r e m i é r e representation, les spectateurs furent
enthousiasmés par la beauté plastique de la scéně. Trnka
a misé - rien ďétonnant chez lui - sur I'effet visuel, sur la
poésie de couleurs, de lumieres et de formes Dans ce
domaine, il était déja un maitre incontestable. II croyait
que la beauté du décor. la gráce des figurines et une animation méticuleuse sauraient maintenir le spectateur
dans un éblouissement permanent. Partout. dans toutes
les scenes, le lyrisme de Trnka l'emportait. (Plus tard, ce
lyrisme sera apprécié, glorifié c o m m e un trait caractéristique de ses films.) Malgré cela. 1'intérét du public
faiblissait. Les spectacles, bien que destinés «seulement»
au public enfantin, étaient dépourvus de caractére dramatique, les marionnettes étant chargées de bavardage creux
Le fond n'était pas a la hauteur de la f o r m e ; la parole
théátrale qui, pour I'animation de la figurine, est équivalente aux mouvements, n'a pas bénéficié de 1'attention
nécessaire. Trnka ne s'est pas rendu compte qu'au théátre,
la beauté plastique seule, sans le support ď u n bon texte,
ne pout pas réussir. l.'échec de son e n t r e p r i s e était
inévitable.
Si Trnka avait rencontré un poěte qui lui fút égal, notre
culture aurait pu s'enorgueillir ď u n théátre de marion
nettes pur, s'inspirant des contes de fées et des légendes
Le théátre de marionnettes aurait pu s'enrichir de tons
gais, radieux ou héroíques, de tout avec quoi le pelntre
au cours cle la décennie suivante a brillé c o m m e illustruteur cle livros pour onfants en particulier Broučci (les
Lucioles) clo Jan Karafiát, 1'histoire de Josef Menzel Míša
Kulička (Nounours la Roule), la Caravcine de Wilhelm
I laull', les Contes de fées (cheques, Contes des frěres Grimm.
Maslerman Ready de Frederick Marryat, les Contes de
rna měře Oye de Charles Perrault et beaucoup ďautres.
Lo théátre clo marionnettes aurait pu profiter de tout c e
que Trnku a créó, dans lo d o m a i n e du théátre tchéque
des années -10, en tant que scénographe de Jiří Frejka.
motteur en scéně du théátre National de Prague (le Menteur
do Goldoni, le Conte ďhiver cle Shakespeare, Pseudole de
Plaute, 1'Anneau de Gygěs ď l lebbol, Strakonicky dudák leJoueur de cornemuse de Strakonice de Tyl. etc). A cette
époque, 'IVnka semble avoir cessé do s'occuper do marionnettes. sans que cela veuille dire qu'il les a abandonnées.
La marionnette 1'accompagne partout (les spécialistes ne
manquent pas do la trouver dissimulée dans ses illustrations). il y réfléchit. analyse 1'expérience encourageante
el a m é r e qu'il a faite. cherche les raisons de son échec,
so domando quelle est sa dette envers les marionnettes.
II sait bien qu'elles n'ont jamais été et qu'elles ne seront
jamais une réplique du théátre ďacteurs et encore moins
son appondico: pas plus qu'elles ne seront des intermédiaires ď u n e preparation au grand art Trnka sent que le
mouvement et la voix transposes dans la matiěre sont le
fondemont ď u n des exploits de 1'homme. que les manonnettes sont autonomes. exclusives. írremplagables II
attend le moment favorable pour les rappeler á 1'oeuvre
Celui-ci se présente lorsque Jiri Trnka entre aux ateliers
du cinema ď a n i m a t i o n . qui á 1'ongme. s'occupaient de
dessin animé Quelques courts met rages lui perrnettent
ď a p p r é h e n d e r le travail de la camera, le montage et
ď a u t r e s precedes techniques
Le cinéma est une merveille de la
technique ... sans aucun doute. Mais il lui
faudra beaucoup de temps pour égaler
les compétences de la marionnette!
Pourquoi a-t-il penché pour le cinéma. pourquoi 1'a-t-il mis
au service de ses figurines? Je crois qu'il tenail á se re
habiliter en tant que marionnettiste. A cette occasion, il a
eu la chance de r é p a r e r et m é m e de surmonter tout ce
á ses debuts. Mais il ne permet pas it I'art cinématogra
phique de i'emporter sur la marionnette par un trucage
óblouissant, par le gag, il ne joue pas seulement p o u r
jouer, il n'admet aucune j o n g l e r i e cinómatographique.
11 p r o t e g e m é m e la marionnette centre les conventions
et les lois cinomatographiquos, il manque sciomment aux
í v g l e s d u montage, du lythme, do la composition de I'image
rion quo pour lui roster conformo. II eonvient de romarquer
ce qui différoncie iVnka d'autres cineaslos d'anlmation
pour IVnka. ce travail signilie le respect des pot its aclours
VI>/xi Main. 1965
mécaniques, un rapport sincere et. obstiné; un service,
des égards pour la nature et. le mystoro do I'art do la
marionnette. Pas d'artifice, pas de speculation, pas
d'imitation miniaturisée do I'humain, pas de trues
éblouissants.
Trnka croit profondément á 1'unimatíon (anima ámo) de
la marionnette et eraint do dócevoir non seulement les
hommes, mais pout ótre aussi ses aclours malléablos.
Seul celui qui s'abandonne entiěroment aux marionnettes,
les soupése, los examine avant de los attacher a sos pro
jets, peut oser tourner un lilm comme Špalíček (Une an
née tcheque), peut chanter avec le rossignol aux con fins
de la mort (Císařův
slavík
le liossígnol
de
1'empereur),
partir a la guerre avec Čestmír (Staré povésli české les
Vieilles légendes tchěques) ou s'egarer au royaume d'Oberon
(Le Songe ďune
nuít ďété).
Voila ce qui fit. le triomphe do
Trnka: gráce au cinéma, il a émancípé la marionnette. Par
le biais du cinéma, il lui a assure le respect, tl a amené le
spectateur aux sources ďune imagination fraíche. Trnka
tient une place exceptionnelle dans J'histoire de la cinématographie mondiale. Mais malgré .son renom de cinéaste,
rien ne réfutera notre conviction que Jiří Trnka sera
toujours apprécíé surtout comme un peíntre-marionnettíste qui créa. aussi et entre autre, pour 1'écran.
67
V/z
a/y/vo/YSY/s/s
r y y / / y y m Y )
y/r>///
'v
z)
/ ° . y / Y > r ) / / / f > / / . r / r
/ / / y ,
///
/
«
/ / / s / / v } ' / / / / s / r
s
s/r
/ s /
r r / / r r / / V v /
O / )
. y / r / y s / ť
Jindra P a t k o v á
Adolt Kašpar, Kašpárek of lbe Kupecký Family, watei colour, aiound 1900
T
ho theatre depart ment of the Nat ional Museum in
Prague organized the exhibition Czech Puppets
for the Kondalion Neumann gallery in Gingings in
Switzerland. It was held to celebrate ninety years since
the birth of Dr Erik Kolár, Czech puppet theorist,
director and professor at the Academy of Dramatic Arts
in P r a g u e who died a m o n g friends in Gingings twenty
years ago. The exhibition, which ran from September last
68
y e a r to January 1997. was e x t r e m e l y well r e c e i v e d by
both the Swiss press and public The National Museum
decided to present the collection, unchanged, to Prague
visitors who h a v e not had the chance to see puppets
from the theatre department collections on such a large
scale for over five years; this unique puppet collection is
not on show permanently and the public only has the
opportunity to see it during exhibitions
The introductory p a n of the Czech Puppets exhibition
briefly acquaints the public with basic facts about the
history of C z e c h puppet theatre and its distinguished
representatives. Here the visitor will see the first Czech
depictions of the puppet, old engravings with characters
c r e a t e d by t r a v e l l i n g p u p p e t e e r s who c a r r i e d t h e i r
entire theatre in a box on their backs, and historical
posters from puppet performances.
The aim of the exhibition of the puppets themselves is to
show as comprehensively as possible a collection whose
first exhibits w e r e a c q u i r e d by the National M u s e u m
back in 1927 Until 1959 the collection was built up more
or less randomly; a f t e r that date it b e c a m e part of the
t h e a t r e d e p a r t m e n t of the N a t i o n a l M u s e u m w h i c h
began to add to it systematically. Today it contains around
4 000 puppets and many other collector's items: complete
little puppet theatres and individual set decorations,
props, curtains, puppet barrel-organs, old puppet
posters and poster stencils.
The largest part of the exhibition are the puppets and
puppet theatres created by folk puppet artists. These
include the puppets of A r n o š t k a K o p e c k á , the oldest
collection, roughly from the mid 19th century; others
generally date from the late 19th century or early 20th cen
tury. Apart from K o p e c k á s curtain and puppets, visitors
will see puppets crafted by wood-carvers from southern
Bohemia and puppets from the K r k o n o š e mountain
region and artefacts owned by other well-known travelling puppeteer families who p e r f o r m e d in this count 17
through the g e n e r a t i o n s up until r e l a t i v e l y r e c e n t l y
Aiong with the marionettes which were used to perform
e v e n i n g " c o m e d i e s " , the exhibition also f e a t u r e s the
so-called " v a r i e t y " puppets which p u p p e t e e r s would
bring out for special shows at the end of the main
performance.
Family theatre comprises another part of both the collection and the exhibition. The National Museum exhibits
include flat puppets by Mikoláš Aleš, puppets made by
Karel Svolinský, a tiny theatre d e s i g n e d by artist
Svatopluk Bartoš and examples of stage designs from
s e r i e s - p r o d u c e d sets (the most famous being the
so-called Scenery by Czech Artists) and series
puppets based on Ales's designs or from the workshop
of Jan Král.
The last part of the exhibition presents puppets, stage
designs and posters documenting the activities of the
puppet theatre associations through which the modern
conception of puppet art developed in Czechoslovakia
during the 1920s (in particular, the Josef Skupa theatre in
P l z e ň with the famous puppet duo Spejbl and Hurvínek. the Prague-based Realm of Puppets and the Art
Education theatre). The Czech Puppets exhibition for
which a catalogue with a large number of colour photographs was published in French, is being held in the
National Museum in Prague from March to the end
of August 1997.
L
e x p o s i t i o n Marionnettes
Ichěquen avail, ótó
préparée, par la section do théátre clu Musóo national do
Prague, pour la galerie Fondation Neumann do Gingins
en Suisse, á I'occasion du quatre vingl. dixléme annivorsaire do la naissance d'Erik Kolár, thóoricien tchěque du
théátre de marionnettes, metteur en scéně et professeur
de 1'Académie des A r l s d r a m a t i q u e s de Prague, mort
á Gingins, chez ses amis, il y a vingt ans. L'exposition toriue
de septembre 1990 a janvier 1997, connut un succěs con
sidérable en Suisse;. Le Musée national a done décidó de
la présenter, sous la m é m e forme, au public pragoís qui,
depuis plus de cinq ans n'avait pas pu voir uric: exposition
de marionnettes de cette e n v e r g u r e ; en effet, cette collection unique de m a r i o n n e t t e s ne jouit pas ď u n lieu
permanent et ce n'est q u a I'occasion ďexposítions que; le
public a Ja possibilitó de 1'apprécier.
La premiére partie de l'exposition Murionnelles
tchěques
renseigne sur 1'essentiel de 1'histoire du théátre de marionnettes tchěque et sur ses grands personnages. On y trouve
la p r e m i é r e image tchěque de marionnette, des gravures
anciennes qui représentent des figures de marionnettistes
ambulants portant sur le dos tout leur théátre dans un
coffre en bois, ainsi que des affiches historiques de spectacles de marionnettes.
69
Lo noyau do I'exposilion ehercho a prosontor fidélement
la c o l l o d i o n doni los promiors objols ont olo acquis par
lo Musoo dójti on 1027. .lusqu'on 195!). la formation do la
collection ótail plus ou mollis Ibrtuite. Apros cello date,
la collection a óté attacliéo ii la section de théátre du
Museo national, qui a commence a la completer de fag on
systématique. A u j o u r d ' h u i . olio c o m p t e p r é s d e -l 000
marionnottes ol un grand nombro ďautres objets do pe
tits theatres do marionnottos c o m p l e t s ainsi que dos
pieces do decors, accossoiros, ridoaux. orgues do Barbaric
a marionnottos (groupo do marionnottos qui so mettent
on mouvomenl avec la musique de ('instrument), vieilles
uffichos ol patrons tsur lesquols on imprimait los alTichos).
La partie principále do la collection rogroupe dos marionnottes ot des theatres do marionnettes populaires. Lo
plus ancien parnu les ensembles do marionnettes est celui
ďArnoštka Kopecká, datant environ do la moitie du XIX0
siěcle, los autres ensembles datont de la fin du XIX1'ou
du debut du XX' siocle. A part lo rideau ot les marion70
nettes ďArnoštka Kopecká, on expose des ensembles de
marionnettes fabriquées par les sculpteurs do marion
nettes do Bohéme du Sud ainsi que des marionnettes
venant do la region du pied des monts des Géants ou
provenant du patrimoine de families réputées de manonnettistes ambulants dont plusieurs generations ont exercé
co metier, á travers notre pays, jusqu á une époque relativoment récente A cote des marionnettes qui servaient
á jouer des piéces de theatre. I'exposition présente aussi
des marionnettes dites de variétés. que les manonnettistes montraient dans des scénes spéciales á la fin
du spectacle
La partie suivante de la collection - et de I'exposition est reservee aux theatres familiaux Le musee national
présente les marionnettes plates de Mikoláš Aleš les
marionnettes de Karel Svolinsky. le petit théátre du piasticion Svatopluk Bartoš des exemples de scénes montées
á partir de decors fabnqués en série - les plus connus
sont les Décors d artistes tchěques - ainsi que des manon-
v V
Ill I
'
r
" ~ ÍÍ
I;y
TL"
(
notles fabriquoes on series ďaprěs los dessins ďAloň ou
bien encore cellos sorties de 1'utollor do Jan Král
La dorniore partie de ('exposition monlro dos marlonnottos,
dos p r o j e t s do scěne el des aťfichos llluslranl. l'n<Uvité
des thóálres de marionnettes d'associallons qui, dans los
années 20, dévoloppalent dos conceptions modornos do
I'art d e la m a r i o n n e t t e (lo t h ó á l r o do Pl/.oň unlmé par
Josef Skupa, avoc lo c ó l ě b r e c o u p l e do m a i i o n n o t f o s
Spejbl et Hurvínek ou deux ihoťitros pragols, ftífto loutek
itoyuume dos marlonnottos el Divadlo umělecké výchovy
Théátre de 1'Educatlon nrl.lKtiquo), I'exposition Marion
nettes tchěques, accompagnóo d'un catalogue on IVan^als
avec: do n o m b r e u s e s p h o t o g r a p h i e s on coulours, a. lion
au Musée national de Prague, de mars řt lili aoúl. 11)1)7.
[ > > A n t o n í n BalSánek,
Musée national,
aquarelle vers 1923
A O Les marionnettes
du montreur populaire
Janeček, fin du XIX1'
début du XX'' siěcle
Collections du Musée
national de Prague
Photos Jan Michálek
T
he idea to establish the Puppet Museum was first
c o n c e i v e d in 1929 w h e n p u p p e t e e r s f r o m s e v e n
countries visited Prague for the 5th Congress held by the
Puppeteers' Meeting organisation. The enthusiasm generated at the meeting gave rise to the idea to establish an
international organisation - Union internationale de la
marionnette - which exists to this dav and is best known
by its initials U N I M A . On this occasion the well-known
Russian literary semiologist. ethnographer and bohemi
cist Petr Bogatyrev proposed the founding of a museum
of puppet theatre in Prague. Since that time this theme
has been included in every U N I M A congress, most significantly in 1969 when the meeting signified the culmina
tion of the 18th Puppeteers' Chrudim, a festival of amateur puppetry which has been held regularly every year
since 1951 as a national, s o m e t i m e s also international,
event.
spectrum of assorted exhibitions. The exhibition space
itself has expanded: today Mydlář House contains eight
halls and exhibition rooms; the playroom with its
puppets and the gallery are located in the adjacent house,
The playroom was introduced two years ago in cooper»
tion with young stage designers from the Popartmenl of
Alternative and Puppet Theatre as "compensation" for
the fact that children are always told never to touch the
exhibits Here, on the contrary, hand puppets and marion
ettes can be played with and handled not only by children
but also sportive adults. In honour of the jubilee season,
Perhaps the Chrudim puppeteer tradition itself encour
aged the local authorities to p r o v i d e p r e m i s e s f o r the
puppet museum which could not be found in Prague: the
wonderful, newly-renovated Renaissance building known
as Mydlář House. The Chrudim burgher Matéj Mydlář,
producer of soaps, candles and perfumes, commissioned
its construction during the period 1573-1577. His son
Daniel, enchanted by the Orient, ordered a little tower
and minaret to be built on to the house. The jester's head
wearing his cap and bells designed on one of the pillar
capitals s e e m e d to p r e d e s t i n e the current r o l e of this
wonderful house. The founding of the museum and the
task of its financing was assumed by the f o r m e r East
Bohemian Regional Committee.
The spiritus agens of the project, prof. PhDr Jan Malik,
also U N I M A General Secretary for many years, offered a
large part of his private collection as a base for the museum's funds. It was also thanks to his initiative that individual U N I M A national centres provided gifts for tho
puppet museum from their own countries. The first installation of the permanent exhibition went ahead with
the valuable assistance not only of the museum staff and
local volunteers, but also professional puppeteers, members of the famous DRAK theatre from Hradec Králové.
The Museum of P u p p e t e e r Cultures - as it is officially
known - held its gala opening on 2nd July 1972, thus this
year it celebrates its quarter-century. The museum has
undergone a number of changes, the most important being that, after the closure of the Regional Committee, it
came under the auspices of the Ministry of Culture of the
CR. It acquired new premises for the depositories of its
growing collections, plus two beautiful old houses in the
vicinity of Mydlář House; thus it was able to expand to incorporate new depositories, a library, a puppet playroom
and a gallery. The museum currently houses approximately 6000 puppets from m o r e than 40 countries all o v e r
the world, and over 60.000 additional collectors' items stage designs, costume designs, printed material, photographs, manuscripts, art works inspired by puppetry and
much m o r e - acquired from o v e r 70 countries: the specialist library boasts over 15.000 volumes. All this during
a mere 25 years of the existence of a museum which makes
accessible and popularises its collections via a broad
< Museum of Puppets in Chrudim, rear wing
Photo archives
the Museum decided to reconstruct a substantial part of
the permanent exhibition representing the traditional
theatre of travelling puppeteers, Czech family puppet
theatre and a selection of foreign puppets from various
museum collections. This y e a r sees the installation of
t h r e e t e m p o r a r y exhibitions: T h e World of the Polish
Szopka, organised in cooperation with UNIMA's Polish
centre, a portrait of artist František Valona and a collection
of puppets designed by Karel Svolinský for the production
The Strakonice Bagpiper staged at the Central Puppet
Theatre in Prague in 1975. For the numerous exhibitions
held both in the Czech Republic and abroad in view of
growing interest in the field - the museum has also organised several p e r m a n e n t travelling exhibitions (Czech
73
Puppet Theatre - History and Present, held in various
settings, Czech Family Puppet Theatre, Foreign Puppet
Museum Collections etc.) Today as many as 15 exhibitions
are held outside the museum each year and others are
planned not only for this year, but also, in part, for 1998
and 1999,
hike every museum which houses exhibitions from the
theatre environment, this museum, too, is based on the
almost Don Quixotesque desire to assemble and preserve transient puppeteer art via accessible materials,
recordings and, now, also video recordings. Naturally,
the most precious surviving objects are the puppets
themselves. They may not toll us much about the quality
of the production in which they appeared, however, they
are for the most part artworks in themselves. They are
able to intrigue us with their expression, they may provide
a testimony of all manner of puppeteer technology, the
different national puppet cultures and they enable us to
compare tho various styles of the artists who created
them. They inspire us to engage in artistic activities of
our own and, If we choose not to study the art of puppetry
moro closely, tho sight of a fascinating puppet will always
grant us an emotional experience.
74
Le Roi, marionnette ďun
montreur populaire tchěque,
fin du XIX"' siěcle, Musée
des arts de la marionnette,
Chrudim
Photo Jaroslav Herat i
D
éjá en 1929. quand les marionnettistes issus de sept
pays vinrent á Prague á ['occasion du cinquiěme
congrěs de 1 organisation -Association des marionnettistes»
(-Loutkářské soustředěni»), on envisagea la creation ďun
musée de la marionnette. Latmosphere enthousiaste de
cette rencontre donna naissance á 1'idée de fonder une
organisation internationale commune - I'Union intern a t i o n a l de la marionnette - qui existe toujours et est
plus connue sous le sigle UNIMA. A cette occasion Petr
Bogatyrev. sémiologue littéraire. ethnographe et eminent
bohémisant russe. proposa de créer, a Prague, un musée
du théátre de marionnettes. Depuis. cette suggestion
sera évoquée lors de tous les congres de l'UNIMA et. tout
particuliěrement, en I9(J9 ou la rencontre coíncidait avec
le XVIII" festival de Chrudim, festival du théátre de marion
nettes amateur qui, depuis 1951, se tient réguliérement
dans cette víIlo, comme une manifestation nationale el
pariois internationale.
C e s t sans doute cette tradition du théátre de marion
nettes présente a Chrudim qui a incite les conseillers de
la vij je a offrir au musée de la marionnette les locaux
qu on n'avait pas su trouver a Prague: la merveilleuse
maison Pienaissance Mydlář, récemment remise en état.
La maison fut construíte, dans les années 1573-1577, par
Matěj Mydlář bourgeois de Chrudim et fabricant de sa-
75
von, de bougies et de parfums. Son f'ils Daniel, grand
admirateur de l'Orient, y ajouta une tourelle de minaret.
La téte d'un bouffon coiffé d'un bonnet a grelots, qui décore le chapiteau ď u n e de ses colonnes semble avoir
prédéterminé la f'onction actuelle de cette admirable
maison. La fondation du musée ainsi que son financement ont été pris en charge par le Comité national regional de la Bohémo de l'Est, aujourd'hui disparu.
Le professeur Jan Malík, promoteur du projet et secretaire général do l'UNIMA pendant do longuos années,
a offert uno grande partie do sa collection privée pour
constituer le I'onds du musée. Los différents centres na
tionaux do l'UNIMA ont offert au musée sur son initiative
des marionnottos caractéristiquos de lours pays. La premiéro installation do I'exposition permanente a été réali
sée gráce aux omployés du muséo ot aux volontaires do
la vil lo et, tout particuliěremont, gráco aux marionnettistes
professionols, membres du DHAK, théátre do marionnettes
réputé do Hradec Králové,
Le Musée des Arts de la marionnette e'est son titre
officiel a été inauguré le 2 juillet 1972; cette année, il
célébre done son vingt cinquiéme anniversaire. Depuis
cette époque, il a contiu plusieurs changements. Aprés la
suppression du Comité regional, il a été repris en charge
par le ministere de la Culture Tchéque. 11 s'est agrandit
de nouveaux locaux pour ses depots qui continuent á
s'enrichir, ainsi que deux belles maisons voisines ce qui
lui a permis d'ajouter a ses locaux de nouveaux depots,
une salle de bibliothéque. une salle de jeu avec marionnettes et une galerie. Aujourd'hui. les collections du
76
musée abritent environ 6 000 marionnettes d une quaran
taine de pays du monde entier et plus de 60 000 objets décorations. projets artistiques. imprimés. photographies,
manuscrits, oeuvres d art inspirées par la marionnette,
etc. - venus de plus de 70 pays. Sa bibiothěque spécialisée compte plus de 15 000 volumes. Voilá pour le bilan
des premieres vingt-cinq années de 1'existence du musée
qui rend ses collections accessibles au grand public et
les popularise en organisant de nombreuses expositions
Peu a peu. le musée a agrandi ses surfaces ďexposition
aujourd'hui. la maison Mydlář posséde huit salles. de
tailles variables, la maison voisine abnte une galene et
une salle de jeu. Celle-ci a été créé. il y a deux ans. en
collaboration avec les jeunes scenographes du Departement du théátre altematif et du théátre de marionnettes
Elle est destinée á compenser le fait que les travailleurs
du musée doivent interdtre aux enfants de toucher aux
objets exposés Dans la salle de ieu. au contraire. les enfants comme les adultes peuvent s'amuser en jouant aux
marionnettes á fils ou aux manonnettes á gant
A I'occasion de son vingt-cinquiéme anniversaire. le musee a realise une renovation ďune grande partie de l exposition permanente qui presente le théátre traditionnel
des marionnettistes ambulants. le theátre de marion-
nettes familial tchěque et enfin des marionnettes etrangěres choisies dans les collections du musée. C e t t e année. on installe également trois expositions temporaires:
Le Monde de la szopka polonaise, réalisée en collaboration
avec le centre polonais de l'UNIMA. le portrait du plasticien František Valena et les m a r i o n n e t t e s d e K a r e l
Svolinský réalisées pour la mise en scěne du Strakonický
dudák (le Joueur de cornemuse de Strakonice)
montée,
en 1975. au Ústřední loutkové divadlo (Théátre central
de marionnettes) de Prague. Encouragé par un intérét
croissant, le musée a préparé. pour des expositions dans
notre pays ainsi qu á 1étranger, quelques ensembles itinérants permanents, congus en plusieurs versions selon
1'espace disponible (Le Théátre de marionnettes tchěque
- son passé et son présent, en plusieurs versions: le Théátre
de marionnettes familial tchěque; Marionnettes étran
gěres des collections du musée, etc.). Actuellement, on
organise, hors du musée, une quinzaine ď e x p o s i t i o n s
par an et le calendrier du musée est comble non seulement pour cette année, mais, en partie, pour les deux
années suivantes.
Le Musée de la marionnette est ne, c o m m e tout musée
d e theatre, du désir, donquichottesque peut-étre, de rocueillir et de conserver du materiel accessible, des on
registrements et, ces derniers temps, dos vidoocassellos
témoignant de I'art fugace de la marionnotto. l.'ossentiol,
bien entendu. de tout co qui pout étro conservé, c'ost la
marionnette. II est vrai qu'ollo no dit pas grand chose
sur la qualité de la mise on scěne. mais on rěgle généralo,
elle constitue par elle metne un objet d'art. Kilo sail, nous
c a p t i v e r par son expression, elit 1 peut. t é m o i g n e r des
technologies de inarionnell.es los plus varioes, dos dilTé
rentes cultures du theatre do marionnettes, elle pormol
de c o m p a r e r los écritures particullěros de plasticions.
Elle sail inspirer une creation artistiquo tndivlduollo ot
m é m e si lo visiteur no s i n l o r e s s o pas fonciěremont, i\
I'art d e la marionnette, la vue ď u n e belle marionnotto
peut réussir t\ 1'émouvoir.
Marionnette de Vlasta Pospíšilová, pour
le théátre DRAK. Hradec Králové 1972
Collections du Musée des arts
de la marionnette, Chrudim
Photo Jaroslav Beran
77
79
The puppet collection is one of the most
valuable deposits of the Theatre Department
of the National Museum, which has the
most extensive collections of theatre material
anywhere in the Czech Republic (more than
one million items and documents). The puppet
collection contains around 4,000 exhibits,
amongst which are puppets made by country
w o o d c a r v e r s and puppeteers, complete
puppet theatres including those run by families
(and serially produced), stage designs and
actual sets and curtains. Owing to the serious
lack of space for the growing collections of
the theatre department of the National
Museum, neither tho puppet collection nor
s o m o of other unique collections are able to
present a permanent exhibition; instead,
from time to time the puppet collection
organizes exhibitions both at home
and abroad.
Contact: Jindra Patková, tel: 02 24497313
Sa collection de marionnettes représente un
des fonds les plus précieux de la section du
théátre du Musée national, abritant les collections théátrales les plus riches du pays
(plus de 1 million d'objets et de documents).
Elle contient plus de 4 000 objets, dont des
marionnettes de sculpteurs et de marionnettistes populaires, des théátres de marionnettes
complets y compris des théátres familiaux
( m é m e ceux fabriqués en série), des projets
artistiques, des réalisations de décors et de
rideaux. Le manque chronique d'espaces
disponibles aux collections de la section du
théátre du M u s é e national, qui s'enrichissent continuellement, ne permet pas á ce
fonds, ainsi qu'a d'autres fonds uniques,
d'installer une exposition permanente. Pour
y remédier la section organise, de temps en
temps, des expositions temporaires en
République Tchéque et á 1'étranger.
Contact: Mme Jindra Patková,
tél. 02/24497313
> Josef Vád Kil, ihc 'Travels of l.lttle lilf woodcui 101 I
Josef Vát hal, li'leiinage
ďun />etit elfe, gravurc sur bois 1911
The editors would like to thank the following lor iheir kind
cooperation in granting publication rights: arch. Jin Trnka
the younger; Professor Jaroslav Sváb; the Theatre Department
ol tlu- National Museum in Prague; the Theatre Department
of the Moravian Museum in Brno; the Museum ol Puppets
in Chrudim; and the Kealm ol Puppets Theatre in Prague
T o us nos remercieinents pour Taimable cooperation et les
droits de reproduction a M. Jiří Trnka junior, M. le professeur
Jaroslav Sváb, aux sections du théátre du Musée national de
Prague et du Musée du pays morave a Brno, au Musée do-,
arts de la marionnette de Chrudim et au théátre Říše loutek
de Prague.
Issued bv Theatre Institute Prague / Revue publiée par
I'lnstttut du Théátre Prague
Director / Dlrecteur Ondřej Černý
Editor iu chief / Rédac trice en chef Jana Patočková
Responsible editors / Redact rices Nina Malíková. Jitka Sloupová
Cover and graphical layout / Couverture ct maquette
Ludmila Pavlousková
Printed / Imprimerie a.s,Svoboda. Praha 10. Sazečská 8
Published twice a year / Parait deux fois l'an
Subsciiptiou/Abounements á l'adresse Divadelní ústav. Celetná 17.
1 10 00 Praha 1. Česka republika
(T Divadelní ústav Praha 1997
ISSN 0862-93S0
80