Cosh (Kalle) and Ruffy (Rulle)

The production was performed by a group of freelance puppeteers after the termination of the contracts of Oslo Nye Teater (Oslo New Theatre)'s puppeteers, following a labour conflict. In the theatre's annual report, the following is written: "One has not succeeded in reaching agreement on a new contract for 1968 for the Puppetry's employees." (Wang and Helgesen 2000:212).

New puppeteers took part in Karlsson on the Roof. As the puppetry community in Norway was very small during the 1960es, there is reason to believe that the participants had little experience with production of puppetry. Only one production was made with this particular groups of freelancers.

The two crooks Cosh (Kalle) and Ruffy (Rulle) were played by Kjell Gamsjø and Karen-Marie Flagstad respectively.

We refer to the other puppets registered under the production Karlsson on the Roof. These are Eric (Norwegian: Lillebror, meaning little brother) and Karlsson.

SOURCES:

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 15.03.2020.

Cosh (Kalle) and Ruffy (Rulle) were both glove puppets. Which is which is unknown, but they are built from the same template. The heads were likely shaped from Styrofoam, strengthened with newspaper and glue. A layer of face paint was added. Both noses are big and round, likely meant to seem unsympathetic. Both heads have hair, the right one in form of fur and the left one likely fabric, possibly felt. In addition, both wear beanies. The puppet to the left wears a leather vest and a pair of 'pants', whereas the puppet to the right wears a jacket and a pair of 'pants'. Both puppets have relatively large hands.  

This description is based on a photo. 

Glove puppets are built for the puppeteer's hand, and are shaped from it. This is particularly true for undersleeves. This has one main function: To fit the hand well, so that the puppeteer can control the puppet during the performance. It is often the case that the puppeteer uses both hands and arms during the performance, with one puppet on each hand and both arms held high. It is particularly demanding to move two puppets at the same time, in terms of giving the puppets life onstage.

The oversleeves or costumes are described in the field above.

This description of the two puppets is based on a photo.