Rod and marott puppets, humanettes (106)
Most puppet types have developed over a long period of time, spreading to large parts of the world. They have followed human migration through millennia. Along the way, they have put down roots and developed different national and regional traits. The history of the theatre puppets is colourful and diverse, and it is also filled with contrasts and conflicts. In main, the theatre puppets in Europe have followed the development of theatre at large, but often in the shadow of it!
ARCHETYPES
There are four archetypes of theatre puppets: glove puppets, rod puppets, marionettes and shadow puppets. All of them have their characteristic visual expressions and physical characteristics, but also limitations.
More
A fifth archetypes is the Japanese Bunraku puppets, still very much alive in the city of Osaka, where a national Bunraku theatre is located. Together, the five archetypes have contributed to the development of newer types of puppets, more or less related to their ancestors. These subcategories, hybrids, and mutations of the archetypes are here presented under the headline puppeteer and puppet(s) and other figures. The eight and last category is TV, video and movie puppets.
Archetypes and younger successors live side by side in our time and age. They make up a rich diversity of theatre puppets within performing arts. As the gallery is filled with more and different puppets, more information about them will be added.
ROD PUPPETS
The rod puppet is steered by one rod fastened to each of its hands. The puppet has great mobility in its arms and can perform precise as well as rhythmic movements. It also has a rod fastened to its head, allowing for other options in visual design and physical movements. The rod puppet is usually a lot larger than the glove puppet, making the movements clearer and more distinct. The rod puppet came to Europe during the 1950es, via Russia (at the time called The Soviet Union), and it was introduced at puppet theatres in what was called The Eastern Bloc. During the Soviet communist era, socialist realism was the official style, which the artists had to submit to. The theatres had to reflect the working class, and the rod puppet represented the new class. To put it simply: The visual design of the rod puppet was to look like ordinary people.
The rod puppet was first introduced at Oslo Nye Teater (Oslo New Theatre)'s puppet theatre in 1966, in the production The Journey to the Sun. The director, designer and puppet maker was Jarmila Majerová from The Czech Republic (at the time called Czechoslovakia). During the 1950es and 1960es, Karel Hlavatý and Jarmila Majerová collaborated at the puppet theatre Radost in Brno ("radost" means joy).