Climbing Mouse

The Animals in the Hunchback Wood was the first production of Oslo Nye Teater (Oslo Nye Teater)'s puppetry theatre. It was performed at the theatre's main stage, and the stage floor was "moved down so that the six performers were almost hidden by the ramp, a low screen covered their heads, and so the puppets performed at approximately the same height as human actors would have done. Nothing was skimped on, not puppets nor backdrops. (...) Birgit Strøm had the most important roles. In the roles of Climbing Mouse and the baker's boy, her ability to differentiate the voice characteristics was noted." (Helgesen, Anne M. 2003:351).

Sceneweb refers to the other theatre puppets registered from the production. These are Morten Woodmouse, Marvin Fox and Mister Hare, the baker. 

SOURCES:

Helgesen, Anne M.: Animasjonen - Figurteatrets velsignelse og forbannelse. Norsk Figurteaterhistorie (literally: Animation - The blessing and curse of puppetry. Norwegian Puppetry History). Dr. Art. thesis in theatre theory, 2003, UiO. 

Wang, Ragnhild and Vibeke Helgesen: Den magiske hånd. Dukkespill og figurteater gjennom tidene (literally: The magic hand. Puppetry throughout the ages). Pax forlag, Oslo 2000.

Donated by: Oslo Nye Teater (Oslo New Theatre).

Transported 13.03.2020.

The head of Climbing Mouse was shaped in clay, after which it was cast in a clay mould with newspaper or cotton gauze and glue. An undersleeve of soft cotton adjusted to the puppeteer's hand was fastened to the puppet's neck. This undersleeve provided control of the puppet during the performance. The oversleeve or costume was shaped according to the puppet's character. In this case, Climbing Mouse had a top and a pair of 'pants', plus a little hat on his head. (For a glove puppet, a pair of 'pants' is usually an adjusted skirt, which the puppeteer can put his or her hand in, like a glove.)

Fabrics used for glove puppets need to be soft and elastic, not heavy, for the sake of the puppet's mobility and use in performance.

The glove puppet Climbing Mouse was built "with foam rubber lining and prolonging cuffs for the arms, to make them larger than traditional glove puppets" (Anne Helgesen: 2003:351). It is likely that the pattern for these puppets was based on Czech traditions, like in former productions at Folketeatret. The pattern was brought to Norway by Birgit Strøm after a residency in Prague in 1952-53. 

A cast head is usually lightweight, as it is hollow inside. The other materials, in this case textiles, also need to be lightweight and mobile. For the puppeteer, it is heavy to keep his or her arm above his or her head, and often, both arms are used. The weight of the puppet is important to the puppeteer.

During the 1950es, it was important that the puppeteers stayed hidden, and they had to stretch their arms as high as possible. This stage practice was gradually changed during the 1960es.

"Thorbjørn was already well-known as a reader in the radio's programs for children. In Karius and Bactus, which had been launched in 1949, and with The Animals of Hunchback Wood from 1953, he had proved his ability to win the children's trust. (...) Radio for children was one thing. The puppetry stage brought much in addition. The live aspect of a stage performance was different and overwhelming. The good situations in the play were suitable for the glove puppets and the theatre's many possibilities, and the puppeteers were given fun roles. Egner was already familiar with the significance of repetition and the joy of recognition, and still, his audience of children found an additional value in seeing the puppets vividly alive. At the theatre, everyone could talk to the animals, give comments and advice. One was even encouraged to applaud after each curtain, if one wanted to. (...) The press predicted that families would stream to the puppetry performance." (Wang and Helgesen, 2000:203).