Part 15

CALVI, EMILIO. Marionettes of Rome. The Bellman, 1917.

CHAMBERS, E. K. The Mediaeval Stage. Vol. II.

COLLIER, JOHN PAYNE. The Tragical Comedy of Punch and Judy.

CRAIG, GORDON. Articles in “The Mask” and “The Marionette.”

CURTIS, ELNORA WHITMAN. Dramatic Instinct in Education.

DELVAU, ALFRED. Le Théâtre Érotique Français sous le Bas-empire.

DURANTY, LOUIS ÉMILE EDMOND. Théâtre des Marionettes du Jardin des Tuileries.

ENGEL, CARL. Johann Faust.

FEISE, E. The German Puppet Theatre.

FERRIGNI, P. Storia dei Burattini. The Mask.

FEWKES, JESSE WALTER. A Theatrical Performance at Walpe. Hopi Katchinas.

FLÖGEL, KARL FRIEDERICH. Geschichte des Grotesk-Komischen.

FRANCE, ANATOLE. On Life and Letters. II Series.

GAYET, A. Oldest of Puppet Shows. Boston Transcript, Nov. 2, 1904.

GLEASON, A. W. Last Stand of the Marionettes. Collier’s Weekly, 1909.

HIRSCH, GILBERT. A Master of Marionettes. Harper’s Weekly, 1912.

IRWIN, E. Where Players are Marionettes. The Craftsman, 1907.

JACKSON, F. NEVILL. Toys of Other Days.

JACOB, GEORG. Das Schattentheater in seiner Wanderung vom Morgenland zum Abendland.

JEROME, L. B. Marionettes of Little Sicily. New England Magazine, 1910.

JOLY, HENRI L. Random Notes on Dances, Masks, and the Early Forms of Theatre in Japan.

JONES, HENRY FESTING. Diversions in Sicily, Castellinaria, or other Sicilian Diversions.

KLEIST, HEINRICH VON. Über das Marionetten Theater. Berliner Abendblätter.

KOLLMAN, ARTHUR. Deutsche Puppenspieler.

LEE, VERNON. Studies in the Eighteenth Century in Italy.

LEMAÎTRE, JULES. Impressions du Théâtre. Vols. IV and VI.

MACDOWALL, H. C. The Faust of the Marionettes. MacMillan’s Magazine, 1901.

MAGNIN, CHARLES. Histoire des Marionettes en Europe.

MAINDRON, ERNEST. Marionettes et Guignols.

MATTHEWS, BRANDER. A Book about the Theatre. Puppet plays, old and new. The Bookman.

MICHEL, WILHELM. Marionetten. Dekorative Kunst, 1910.

MICK, HETTIE LOUISE. Puppets of the Chicago Little Theatre. Theatre Arts Magazine, 1917.

MIYAMORI, OSATARO. Tales from Old Japanese Drama.

MODERWELL, HIRAM K. The Marionettes of Tony Sarg. Boston Transcript, 1918.

MOULTON, R. H. Teaching Dolls to act for Moving Pictures. Illustrated World, 1917.

NICHOLS, FRANCIS H. A Marionette Theatre in New York. Century Magazine, 1892.

PEIXOTTO, ERNEST C. Marionettes, and Puppet Shows, Past and Present. Scribner’s Magazine, 1903.

PETITE, J. M. Guignols et Marionettes.

PISCHEL, RICHARD. The Home of the Puppet Play. (Translated by Mildred C. Tawney.)

POCCI, FRANZ VON. Lustiges Komödienbüchlein.

POLLOCK, W. H. Punch and Judy. Saturday Review, 1900.

REHM, HERMANN SIEGFRIED. Das Buch der Marionetten.

SERRURIER, L. De Wajang Poerwa.

SERVAES, FRANZ. Neue Theaterpuppen von R. Teschner.

SPERANZA, GINO CHARLES. Marionette Theatre in New York. Saturday Evening Post, 1916.

STARR, LAURA B. The Doll Book.

STEVENSON, ROBERT LOUIS. Essays.

STODDARD, ANNE. The Renaissance of the Puppet Play. Century Magazine, 1918.

STORM, THEODOR. Pole Poppenspäler.

STRUTT, JOSEPH. Sports and Pastimes of the People of England.

SYMONS, H. An Apology for Puppets. Saturday Review, 1897.

VASARI. Life of Il Cecca.

VISAN, TANCRÈDE DE. Le Théâtre de Guignol. Nouvelle Revue, 1909.

WEED, INIS. Puppet Plays for Children. Century Magazine, 1916.

WEST, HENRY SUYDAM. Puppet Warfare in France. Literary Digest, 1915.

WESTWOOD, J. O. Notice of Medieval Mimic Entertainment. Archeological Journal, Vol. V.

WITKOWSKI, GEORG. Introduction to Goethe’s Faust.

WOLF, GEORG JACOB. Das Marionetten Theater Münchner Künstler. Dekorative Kunst, 1911.

YOUNG, S. G. Guignol. Lippincott’s Magazine, 1879.

ZIEGLER, FRANCIS J. Puppets, Ancient and Modern. Harper’s Magazine, 1897.

* * * * *

_All the Year_, 1894. Greek Puppet Show. From the Works of Heron of Alexandria.

_Current Opinion_, 1916. Paradox of the Puppet.

_Current Opinion_, 1913. Return of the Marionettes.

_Eclectic Magazine_, 1854. Puppets of All Nations.

_Encyclopaedia Britannica_, Vol. 17: 723.

_Illustrated London News_, 1911. A Javanese Topeng Dalang.

_Kind und Kunst._ Vol. III. Illustrations of Puppet Shows.

_Scientific American_, 1902. Puppet Shows of the Paris Exposition.

_The Marionette._ Vol. I.

_The Mask._ Vols. I, II, III, IV, V, VI, VII.

_The Sketch_, 1916. Illustration of the Gair Wilkinsons’ Puppets.

FOOTNOTES

[1] Oh, ladies and gentlemen, patient sitters for portraits, what if the puppets do reverse the usual order of things? Must you not envy them? Think of having your portrait painted first, the portrait of the _ideal you_ by an artist, and then having a complaisant Creator fashioning your features into the nearest possible semblance of what you might wish to be! Think of it. How delightful for you and how simple for the portrait painter!

[2] Only the principal male parts were allowed to speak Sanskrit according to the conventions of Hindu dramaturgy. Lesser male and all female parts were spoken in Prakrit.

[3] There are many Italian names for the puppets. From _pupa_, meaning doll, is derived _pupazzi_. From _fantoccia_, also signifying doll, we have _fantoccini_, or little dolls. From _figura_, statue or figure, comes _figurini_, statuettes or little figures. _Burattini_ comes from _buratto_, cloth, being made mostly of cloth. _Marionette_ is a modification of _Maria_, the Virgin, meaning little Maries from the early statuettes in churches. Another explanation is found in the tenth century Venetian _Festival of the Maries_. Upon one occasion Barbary pirates carried off twelve Venetian maidens in their bridal procession. The rape of the affianced Virgins was avenged by Venetian youths and thereafter celebrated annually by a procession of richly dressed girls. These later were replaced by elaborately gowned figures carried year by year in the procession--hence Marionetti, little Maries.

[4] The research of scholars has discovered in the Ulm versions of the Faustspiel the suggestion for the _Prologue in Heaven_, although in the puppet play it was held in the Inferno before Satan, not before Die Padre. _Faust’s Monologue_ seems patterned after that in the Tübingen play or that of Frankfurt am Main. The metaphysical debate between Faust and Mephistopheles has its prototype in the Augsburg Faustus. The tavern scene may have been drawn from a similar scene in the Cologne play. Similarly the Phantasmagoria of Blocksberg and other arrangements may be traced back to the old puppet show Faust.

[5] Mrs. Browne, in any case, has not been discouraged. In 1918 she instructed her class in the dramatic department of the University of Utah in the principles and methods of marionette play, developing possible puppeteers for the future. The next spring we find her assisting Mr. Sarg in directing and staging his little puppet drama, _The Rose and the Ring_.

[6] At the same time a less successful and quite unfinished dress rehearsal of another drama was performed; but this play on which the manipulators had labored for many months was abandoned because of too great difficulty in manipulating ... and because of other complications which shall be nameless.

[7] Mr. Alfred Kreymborg informs me that _Lima Beans_, one of his amusing little poem-mimes, was played by puppets in Los Angeles, under the direction of Miss Vivian Aiken. Mr. Kreymborg has written that he considers “the only possible approach to a Synthetic stage is derived from the marionette performance.” Of the puppeteers in Los Angeles, one would like to hear more.

[8] Mr. B. Pollock, 73 Hoxton St., London, writes: “I still publish Juvenile Plays and also supply foot lights and tin slides which are used with the theatre. I have now been carrying on the business for forty-two years and my father-in-law about thirty-eight years before me.”

[9] Mr. G. Bernard Shaw has written of England: “The old professional marionette showmen have been driven off the road by the picture theatre. I am told that on the Continent where marionettes flourish much more than here, they have suffered the same way from the competition of the irresistible pictures. And I doubt whether they will recover from the attack. I am afraid there is no use pretending that they deserve to.”

How consoling to turn to Mr. Gordon Craig, who has prophesied optimistically in _The Marionette_: “Burattini are magical, whereas Cinema is only mechanical. When a framework of a film machine is one day found by curiosity-hunters in the ruins of a cellar and marvelled over, the Burattini will still be alive and kicking.”

_Index_

Ache, d’, Caran, designs silhouettes for _Chat Noir_, 98–99.

Actors, used with marionettes, in Italian church festivals, 51; in medieval French churches, 82; in Germany in seventeenth century, 123–125.

Aiken, Vivian, 183.

_Alice in Wonderland_, in Chicago, 178.

America, marionettes in, 163–191.

American Indians, use of articulated images in ceremonials, 164–170.

Ames, Winthrop, interest in marionettes, 184–185.

Ananda, annual performance in temple, 30.

Anatole, M., founder of the Vrai Guignol, 107–108.

Antinoë, excavation of marionette theatre in, 16–17.

Antiquity of puppets, 15.

Antwerp, underground theatre in, 141–142.

_Apotheosis of Bacchus_, representative Greek show, 19.

_Apuleius_, quoted on Greek puppets, 18.

Ariosto’s _Orlando Furioso_ in Sicily, 71–76.

Aristophanes’ _The Birds_ in puppet performance, 105.

Arlecchino, Italian puppet character, 22, 57.

Baden-Baden, puppet show of Ivo Pühony, 134.

Bali, Wayang plays in, 28.

Belgium, puppets in, 140–142.

Bergerac, Cyrano de, duel with ape, 84.

Berlin, production of _Doctor Sassafras_ and _Two Dancing Chinamen_, 134–135.

Bertrand, French showman, 86–87.

_Birds_ of Aristophanes produced, 105.

Black, John, 182.

Blei, Franz, quoted on shadow play in Munich, 132; on types of plays for puppets, 210–211.

Bohemia, puppet plays in, 136.

Boinet, Paul, operator on _La France_, 109.

Bologna, theatres in, 69.

_Bonifrates_, definition, 80.

Boswell, quoted, 154.

Bouchor, Maurice, presents _Noël ou le Mystère de la Nativité_, 110–111.

Brann, Paul, founder of theatre in Munich, 130.

Briocci. _See_ Brioché.

Brioché, Giovanni and Francesco, famous 17th century showmen, 84–86.

Broemel, Carl, 183.

Browne, Mrs. Maurice, founder of Chicago Little Theatre, 173–178.

Buelens, Pieter, Belgian showman, 141.

Buffano, Remo, 171.

Bulley, Margaret, 157.

_Burattini_, description, 54; derivation of name, 55.

Burma, development of puppet stage, 29–30.

Caine, W., quoted on Paris Guignols, 197–198.

Calthrop, A., on modern Venetian show, 68.

Cardboard plays, 192–194.

Cascio, Salvatore, 172.

Cassandrino, Italian puppet character, 58, 60.

Catacombs, jointed images in tombs, 22.

Catania, religious plays in, 77–78.

Cecca, mediæval Italian mechanician, 51–52.

Central Asia, two types of puppets, 30.

Ceylon, early religious puppets, 33.

Chambers, E. K., quoted on use of puppets in churches, 53.

Champs Élysées, home of the Vrai Guignol, 107–108; performances, 197–198.

Character types. _See_ Types.

Charles V of Spain, 78.

_Chat Noir_, home of _Ombres Françaises_, 98–100.

Chicago Little Theatre, successful performances in, 173–178.

Children’s productions, 192–194.

Chopin, life enacted by Cleveland puppets, 182.

Christmas plays. _See_ Religious plays.

Church festivals, in Italy, 51–52. _See also_ Passion play; Religious plays.

Cibber, Colley, writes for marionettes, 153.

Cleveland, Italian performance in, 172; Playhouse, puppet productions, 178–183; performance of _The Rose and the Ring_, 200–201; construction of dolls, 221–224.

Clisby, George, 179.

Cologne, home of Kölner Hanneschen Theatre, 128.

Comic element in puppets, 203–205.

_Commedia dell’Arte_, influence on Italian marionettes, 57–59.

Constantine, Italian puppet character, 58.

Construction of marionettes, 221–224. _See also_ Materials; Mechanism.

Construction of marionette stage (O’Neil), 226–229.

Craig, Gordon, experiments with puppets, 160–163; _Game of Marionettes_, 192; on educational importance of puppets, 202; on actor and marionette, 208–209; on future of puppet plays, 214.

Crawley, London showman, 153.

Cruikshank, pictures of Punch and Judy, 149.

Cuccoli, Filippo, 69.

Curtis, Elnora Whitman, on educational value of puppets, 201–202.

Dalang, definition, 27.

_Dame aux Camellias (La)_, parody on by George Sand, 94.

_Death of Tintagiles_, production in Cleveland, 179–180; rehearsal of, 218–221.

Deaves, Harry, retired American marionettist, 171.

_Deluded Dragon_, produced at Chicago Little Theatre, 174–175.

Denmark, puppets in literature, 140.

Dickens, Charles, quoted on puppet shows in Genoa, 63–66.

Dickson (pseud.), operator-magician, 101.

Dieppe, annual _Mystery of the Assumption_, 82–83.

_Docha_, definition, 113.

_Doctor Sassafras_, artistic production in Berlin, 134–135.

Dolls, mechanical, in vaudeville, 170–171.

_Domèvre, The Seven Chasseurs of_, 111–112.

Don Quixote and the puppets, 79.

Dorothea, popular puppet character of Hamburg, 115.

Drama, poetic, difficulties of production, 190–191. _See also_ Plays.

Drama, varied repertory of Italian marionettes, 59–62; classic, given at _Le Petit Théâtre de M. Henri Signoret_, 102–105.

Duranty, Charles, attempt to uplift Guignol, 108.

Edgerton, Mrs. Seymour, 174.

Educational value of puppets, 195, 201–202, 213–214.

Egypt, possible birthplace of marionettes, 16.

Ehlert, Ernest, gives shows in Berlin with Pühony’s puppets, 134–135; on Pühony’s marionettes, 206.

Elizabethan period, popularity of puppets, 150–154.

England, puppets in, 143–163; toy theatres in, 193–194.

English literature full of allusions to puppets, 143–144.

_Epopée_, produced at _Chat Noir_, 99.

_Erotikon Theatron de la rue de la Santé_, sketch of, 94–96.

Eudel, Paul, first publishes shadow plays, 98.

Excavations reveal ancient puppets, 16–17.

Fairy plays, in the _Ombres Chinoises_ at Versailles, 97–98; in the _Vrai Guignol_, 108; in Munich, 129; at Chicago Little Theatre, 174–178; produced by Tony Sarg, 186–187, 189; specially suited to puppets, 212.

Fantoccini, description, 54; derivation of name, 55.

Fashion puppet, Lady Jane, 152.

Faust, history of character, 116–122.

Ferrigni, P., on introduction of figures into Christian churches, 23. _See also_ Yorick.

Fewkes, Dr. Jesse Walter, quoted on Indian ceremonial drama, 164–170.

Fiano Theatre, Rome, 60–61.

_Figurini_, derivation of name, 55.

Flögel, quoted on English masques, 145–146; preference for grotesque comedy, 203.

France, Anatole, writes on the _Chat Noir_, 98; quoted on _Le Petit Théâtre de M. Henri Signoret_, 103–105.

France, puppets in, 81–112.

Francisque, French showman introducing _opéra comique_, 88–89.

French writers and musicians, show interest in puppets, 89–96.

Fun in puppet-playing, 216–218.

Gautier, Théophile, on Turkish puppets, 37.

Gayet, A., on puppet theatre excavated at Antinoë, 16–17.

Gehring, Albert, 182.

Geisselbrecht, Viennese showman, 121.

Genoa, elaborate productions in, 62–66.

Germany, puppet shows in, 113–136; toy theatres in, 194–196.

_Gidayu_, definition, 46.

Gidayu, Takemoto, 16th century showman, 47–48.

Glasheimer, Adolf, Berlin showman, 126.

Gleason, Arthur, describes Italian show in New York, 172–173.

Goethe, interest in puppets, 122; maxim on stagecraft, 161; quoted on his introduction to puppets, 195–196.

Golden age of marionettes, 89.

Goldoni, interest in puppets, 197.

Goldsmith, Oliver, at marionette show, 154.

Grasso, Maria, 172.

Greece, articulated idols in, 17; development of puppetry in, 18–21.

“Green monster” of George Sand, 93.

Grotesqueness in puppets, 203.

Guignol, originated in Lyons, 107; in Paris, 107–108; on steamship _La France_, 109; performances in Paris, 197–198.

Gyp, presents _Tout à l’égout_, 110.

Hamburg, long popularity of puppets in, 115–116.

Hanswurst, German puppet buffoon, 114.

_Hauptundstaatsactionen_, description of, 124–125.

Haydn, Joseph, composes music for marionettes, 127.

Hazlitt, William, on Punch and Judy shows, 212–213.

Hembauf, George, Belgian showman, 140.

Heron of Alexandria, on early Greek puppet mechanism, 19.

Hewelt, John (pseud.), operator-magician, 101.

Holden, Thomas, operator-magician, 101; marionettes, 156.

Holland, puppets in, 140.

Hopi Indians, Great Serpent drama, 165–170.

Humor in puppet plays, 203–205.

Hungary, gypsy puppeteers, 136.

Idols, animated, in Egypt, 16; in Greece, 18; in Rome, 21; of ancient Gauls, 81. _See also_ Images; Religious puppets; Statues.

Ilkely Players, amateur English marionettists, 157.

Images, jointed, found in Catacombs, 22; religious, in Italy, 51–54; articulated, used in mediæval French churches, 81–82; in English churches, 145; articulated, used by American Indians, 164–170. _See also_ Idols; Religious puppets; Statues.

India, antiquity of puppets, 15; development of puppets in, 32–35.

Israeli, d’, Isaac, writes of Punch, 146–147.

Italy, evolution of puppetry, 22; its development, 50–78; Goldoni’s interest in puppets, 197; puppets beloved by children, 199–200.

Japan, origin and development of puppet shows, 43–49.

Java, shadow-plays, 24–28.

Jinavaravamsa, P. C., on Indian puppets to-day, 34.

Joly, Henri, on antiquity of Japanese shows, 43–44.

Jones, Henry Festing, quoted on Sicilian shows, 71–77.

Jonson, Ben, mentions puppets in many writings, 150–151.

_Joruri_, Japanese epic play, 47.

Juvenile drama, 193–194.

Karagheuz, Turkish puppet hero, 37.

Kasperle, German puppet buffoon, 114; in Faust play, 118–120.

Ketschel, Persian comic puppet, 32.

_Kobold_, definition, 113.

_Kölner Hanneschen Theater_, 128.

Kopecki, Bohemian showman, 136.

Kreymborg, Alfred, 183.

La France, puppet theatre on, 109.

La Grille’s _Théâtre des Pygmées_, 87–88.

Laufer, Dr. Berthold, on marionettes in Egypt, 16.

Laurent Broeders, Belgian showmen, 140–141.

Lemaître, Jules, describes several productions, 110–111.

Lewiss, Clunn, wandering English showman, 155–156.

Lighting a puppet stage, 227–229.

_Lima Beans_, given in Los Angeles, 183.

Literary puppets in Paris, 109–111.

Little Theatre, Chicago, history of, 173–178.

London, Italian puppets in, 146; present-day street puppets, 155.

Los Angeles, puppets in, 183.

Louis XIV, puppets a feature of marriage procession, 79; gives special privileges to La Grille, 88.

Lupi brothers, Italian showmen, 68–69; description of performance for children, 199–200.

Luschan, von, F., on puppet plays in Turkey, 38.

Luther, Martin, denunciations against actors, 123.

Maccus, Roman buffoon, 21.

Machieltje, Belgian showman, 140.

MacLean, J. Arthur, on puppet performance at Ananda, 29–30.

Maeterlinck’s _Death of Tintagiles_ produced in Cleveland, 179–180; rehearsal of play, 218–221.

Magnin, Charles, on Greek articulated idols, 18; on Polichinelle, 205.

_Mahabharata_, basis of Javanese plays, 26.

Making a marionette, 221–224. _See also_ Materials; Mechanism.

_Manik Muja_, basis of Javanese plays, 26.

Margueritte, Paul, describes M. Signoret’s puppets, 207.

Marionette, derivation of name, 55.

Marionette Theatre of Munich Artists, 130–131.

Masques, English, 145–146.

Materials, used in ancient Indian puppets, 15; in Javanese shadows, 25; in Siamese shadows, 29; in Cleveland Playhouse puppets, 179–180; making a marionette to-day, 221–224.

Matthews, Brander, on types of plays for puppets, 211–212.

Maupassant, de, Guy, on Karagheuz plays, 39.

Mechanical dolls in vaudeville, 170–171.

Mechanism, of early Greek puppets, 18; of Javanese shadows, 27; of modern Indian puppets, 34; of Turkish puppets, 38; intricacy of in Japanese puppets, 45–46; of Italian puppets, 54–55; intricate, in modern Italian puppets, 70; increasing intricacy in France, 90; of _Le Petit Théâtre de M. Henri Signoret_, 102–103; perfection in Tony Sarg’s puppets, 185–186; simple, in Cleveland Playhouse dolls, 221–224.

Michel, Wilhelm, on comic function of puppets, 204.

Mick, Hettie Louise, writes on plays at Chicago Little Theatre, 175–176.

_Midsummer Night’s Dream_, production at Chicago Little Theatre, 175–177.

Molière’s _Monsieur Pourceaugnac_ in Madrid, 80.

Monzayemon, Chikamatsu, Japanese playwright, 48.

Mourguet, Laurent, originator of Guignol, 107.

Munich, home of best German puppet shows, 128–133.

Musée Grevin, theatre in, 109.

Nang, Siamese shadow play, 28–29.

Nantes, revocation of Edict made into play, 86–87.

Napoleon, death of, puppet play described by Dickens, 64–66.

Nelson, Lord, imaginary dialogue with Punch, 149.

Neuville, de, Lemercier, guiding spirit of _Erotikon Theatron_, 95–96; interest in shadow plays, 98.

New York, Italian show described by Arthur Gleason, 172–173; puppets of Tony Sarg, 183–191.

_Noël_, by Bouchor, 110–111.

Ogotai, legend of, 31.

_Ombres Chinoises_, French shadow plays, 97.

_Ombres Françaises_, at the _Chat Noir_, 98–100.

_Ombre du cocher poète, L’_, first _opéra comique_, 88–89.

O’Neil, Raymond, director Cleveland Playhouse, 178; “Construction of Marionette Stage,” 226–229.

_Opéra comique_, origin, 88–89.

Operator-magicians, 101.

Origin of puppets, theories of scholars, 15–16; Persian legend, 31–32; Turkish tales, 36; Chinese legends, 40–41; Japanese stories, 44.

_Orlando Furioso_ in Sicily, 71–76.

Osaka, puppet plays in, 48.

Owen, Lillian, 174.

Pandji legends, basis of Javanese plays, 26.

Pantalone, Italian puppet character, 58.

Paris, first permanent puppet stage erected, 83; George Sand’s theatre, 92–94; _Erotikon Theatron de la rue de la Santé_, 94–96; the _Chat Noir_, 98–100; the operator-magicians, 101; _Le Petit Théâtre de M. Henri Signoret_, 102–105; the _Vrai Guignol_ in the Champs Élysées, 107–108; literary puppets, 109–111; marionette theatre at 1900 Exposition, 109; Guignol performances, 197–198.

Passion play, at Catania, 77–78.

Pathological types of Turkish puppets, 37.

Payne-Collier, arranges _Tragical Comedy of Punch and Judy_, 149.

Persia, puppetry in, 31–32.

_Petit Théâtre_ in Belgium, 141.

Piccini, Italian showman in England, 146.

Pierrot Guitariste, puppet by De Neuville, 96.

Pinkethman, London showman, 153.

Pischel, Prof. Richard, on origin of puppets, 15–16; on puppet plays of India, 32–33.

_Pivetta_, definition, 67.

Playhouse, in Cleveland, gives puppet plays, 178–183; construction of dolls, 221–224.

Plays, suited to puppets, 210–214.

Pocci, Graf, writer of fairy plays for puppets, 129; _Three Wishes_ produced by Tony Sarg, 186–187.

Poetic drama, difficulties of production, 190–191.

Poland, religious plays in, 138–139; Wyspianski’s interest in puppets, 196–197.

Polichinelle, French puppet character, 83; varied career, 106–107; plea for, 203–215. _See also_ Pulcinella; Punch; Punchinello.

Pollock, B., publisher of juvenile plays, 193–194.

Portugal, puppets in, 80.

Powell, clever London motion maker, 151–152.

_Prodigal Son_, popular play in Hamburg, 115.

Producing a play, in Java, 26; in India, 34; in Turkey, 38; in China, 41–43; in Japan, 45–47; French restrictions in 17th century, 87–88; _Midsummer Night’s Dream_ in Chicago, 176–177; behind the scenes, 216–224; construction of stage, 226–229.

Pühony, Ivo, puppet maker, 134; his marionettes, Ernst Ehlert quoted, 206.

Pulcinella, Italian puppet character, 22, 58. _See also_ Polichinelle; Punch; Punchinello.