Part 16

Punch, origin of name, 146–147. _See also_ Polichinelle; Pulcinella.

Punchinello, his prestige and prowess, 147–150. _See also_ Polichinelle; Pulcinella; Punch.

_Pupazzi_, derivation of name, 55.

Ramayana, basis of Javanese plays, 26; basis of Siamese _Nang_, 28; modern production of in India, 34.

Rehearsal of play, 218–221.

Rehm, R. S., on puppet show in Samarkand, 30–31; on Chinese shadows, 42–43; on Rivière’s shadow pantomimes, 99–100.

Religious plays, at Catania, 77–78; in Spain, 78; revocation of Edict of Nantes produced, 86–87; in Russia, 137–139; in Poland, 138–139; in England, 145; specially suited to marionettes, 211. _See also_ Passion play.

Religious puppets, at Antinoë, 17; in Greece, 18; in Rome, 21; in Catacombs, 22; in Burma, 30; in Ceylon, 33. _See also_ Idols; Images; Statues.

Repertory, varied in Italian puppet shows, 56–62; varied in medieval Germany, 123–125; in Munich theatres, 131–132.

Restrictions on production, in 17th century France, 87–88.

Rivière, Henri, makes pantomimes for _Chat Noir_, 99–100.

Rome, ancient, articulated statues, 21; Rome, modern, many puppet theatres in, 60–62.

_Rose and the Ring_ produced by Tony Sarg, 189–190; account of Cleveland performance, 200–201.

Russia, puppet plays in, 137–139.

Saint-Genois, de, Alfred and Charles, 101.

Saint Germain Fair, puppet shows at, 87.

Saint Laurent Fair, puppet shows at, 87.

_Salome_, in puppet performance, 211–212.

Samarkand, performance of _Tschadar Chajal_ in, 30–31.

Sand, George, establishes _Théâtre des Amis_, 92–94.

Sanskrit, restriction in use of, 33.

Sarg, Tony, experiments with marionettes in London and New York, 184–191; takes _The Rose and the Ring_ to Cleveland, 200–201.

Scala, Flaminio, 17th century director, 59.

Scapino, Italian puppet character, 58.

Scaramuccia, Italian puppet character, 58.

Sceaux, puppet stage in chateau, 89–90.

Schmidt, “Papa,” beloved Munich showman, 129–130; appreciation of work, 195.

Schutz and Dreher, showman of Berlin, 121.

Seneca, death of, shown in Valencia, 80.

Seraphin, Dominique, producer of shadow plays, 97.

Shadow plays, in France, 96–100; in Munich, 132.

“Shadows,” Javanese, how made, 25; of Siamese _Nang_, 28–29; Turkish, origin and excellence of, 36–39; Chinese development, 39–43.

_Shadowy Waters_ produced by Cleveland puppets, 182.

Shakespeare, _Tempest_ produced by M. Signoret, 103–104; allusions to puppet shows, 143–144; _Midsummer Night’s Dream_ in Chicago, 175–177.

Shaw, G. Bernard, on marionettes and acting, 209; on future of puppet shows, 214.

Siam, unusual shadows of the _Nang_, 28–29.

Sicily, great popularity of marionettes in, 70–78.

_Signoret, Henri, le Petit Théâtre de_, 102–103; puppets described by Paul Margueritte, 207–208.

Simmonds, William, artist and amateur puppeteer, 158–160.

Simplification of puppets by Gordon Craig, 162–163.

Socrates and the showman, 20.

Spain, history of puppets in, 78–80.

_Spectator_, frequent mention of puppets, 151–152.

Stage, construction of (O’Neil), 226–229.

Statues, articulated, in Rome, 21. _See also_ Idols; Images; Religious puppets.

Stentorella, Italian puppet character, 58.

Stevenson’s _A Penny Plain and Twopence Colored_, quoted, 193–194.

_Sthapaka_, definition, 16.

Stoddard, Anne, describes production of _Three Wishes_, 186–187.

_Sutradhara_, definition, 16.

Symons, Arthur, on art of marionette, 206–207.

Tattermann, definition, 113.

Technique of production. _See_ Producing a play.

_Tempest_, production described by Anatole France, 103–104.

_Temptation of St. Anthony_, by Rivière, 99–100.

Teoli, Italian marionettist, 61.

Teschner, Richard, marionette maker in Vienna, 133.

Thackeray’s _Rose and the Ring_ produced, 189–190, 200–201.

Théatines, order of monks, give spectacles, 83.

_Théâtre des amis_, history of, 92–94.

_Three Wishes_, produced by Tony Sarg, 186–187.

_Tintagiles._ _See_ _Death of Tintagiles_.

_Titeres_, Spanish puppets, 79.

_Tocha_, definition, 113.

_Tokkenspiel_, early subject matter, 114.

Tokyo, puppet plays in, 48.

Tombs, Egyptian, puppets found in, 16; jointed images found in Catacombs, 22.

Toone, Belgian showman, 140.

Torino, famous theatre in, 68–69; description of performance at Lupi theatre, 199–200.

Torriani, Giovanni, inventor, 78.

Toy theatres, 192–197.

_Tragedy of Nauplius_, representative Greek show, 19–20.

Travelling showmen, in Greece, 20; in Rome, 21; in China, 41; in Spain, 79; in Russia, 137–138; in London and rural England, 155.

Treat, Grace, 179.

_Tschadar Chajal_, puppet play of Turkestan, 30–31.

Turkestan, two types of puppets, 30.

Turkey, legends of origin of puppets, 36.

Types of puppets, on early Roman stage, 21; in Turkey, 37; in Italy, 54, 57–58.

Van Volkenburg, Ellen, 174.

Variety bills follow Thirty Years’ War in Germany, 123–125.

Vasari, quoted, on church spectacles, 51–52.

Venice, medieval puppets in, 67.

Vidusaka, Indian puppet buffoon, 34.

Vienna, the dolls of Richard Teschner, 133.

Voltaire’s interest in puppets, 90.

War zone, French puppets in, 111–112.

_Wayang_ dramas, Javanese shadow plays, 25–28.

Wheeler, Katherine, 174.

Wilkinsons, amateur English marionettists, 156–157.

Williamson, Mrs. Hamilton, 187–188.

Winter, Christoph, Cologne showman, 128.

Woltje, Belgian puppet buffoon, 140.

Writing for puppets, 217–218.

Wundt, Prof., on comic function of puppets, 203.

Wyspianski, Stanislaw, early plays with puppets, 196–197.

Yeats’ _Shadowy Waters_ produced in Cleveland, 182.

Yeddo, 18th century centre for puppet drama, 48.

Yorick (pseud.), on puppets in Egypt, 16; on growth of Greek puppetry, 18. _See also_ Ferrigni.

Zelenko, Alexander, quoted on modern Russian puppets, 137–138.

Transcriber’s Notes

Punctuation, hyphenation, and spelling were made consistent when a predominant preference was found in the original book; otherwise they were not changed.

Simple typographical errors were corrected; unbalanced quotation marks were remedied when the change was obvious, and otherwise left unbalanced.

Illustrations in this eBook have been positioned between paragraphs and outside quotations. In versions of this eBook that support hyperlinks, the page references in the List of Illustrations lead to the corresponding illustrations.

The end-papers referenced in the List of Illustrations were not found.

In this and some other some printings or scans of this book, the illustration "Wayang Figures from the Island of Bali" follows page 38, not page 28. The page number in the List of Illustrations and the position of the illustration in the text have not been changed here, but the link in the HTML version of this eBook goes to the actual image.

Footnotes, originally at the bottoms of pages, have been resequenced, collected, and positioned just before the Index.

The index was not checked for proper alphabetization or correct page references.