CHAPTER XLI

HOW TO MAKE AND WORK MARIONETTES

CONSTRUCTING THE STAGE

MARIONETTES, though claiming no rivalry to the time-honored institution of Punch and Judy, have a great charm of their own, and, with no traditional story of Punch, Judy, and Dog Toby, are at liberty to perform whatever play their manager may desire.

Although it is possible, of course, to purchase ready-made Marionette theaters and puppets, the purpose of this chapter is to describe a method by which the whole apparatus can be constructed at home at the cost of very little money and time.

Naturally, the first thing to be made is the stage. This must depend very much upon the Marionettes you intend to work. As a convenient size, suppose you decide upon figures 8 inches in height. This means that the frontage of the stage must be about 28 inches wide by 16 inches high, whilst it will run back to a depth of some 14 inches.

Make a base of plain wood, 42 inches by 22 inches. If more convenient this can be made in two pieces, each 21 inches by 22 inches. These fit together flush and are held by a couple of hooks and nails fastening beneath. Glue a block of wood at each corner to form a support, as shown in Fig. 1, which depicts the under side of the base. A, B are the two hooks and nails; C, C, C, C are the above-mentioned blocks. At a distance of 2 inches from what will be the front, and 2¹⁄₂ inches from either end, cut a mortice in each piece of the base (D, D in the figure), through which the tenons of the stage front will project. They must, therefore, be made to suit the thickness of the wood employed. At a distance of 5 inches from the back make four mortices, a couple in each part of the base as E, E, E, E in the figure. These will serve to hold the rear of the stage.

The front of the stage is now constructed as indicated by Fig. 2. Two pieces must be made exactly similar to one another, each to form one-half of the front. The tenon, D, should be long enough to pass through the mortice made for it in the base, and project from the other side sufficiently to allow of a peg being pushed through a hole bored in it. This peg will serve to maintain the upright front in place. Furthermore, two hooks must be placed upon one of the halves, to fasten to corresponding nails in the other half, thus holding the pieces of the stage front firmly together.

The back of the stage consists of two pieces of wood each 18 inches by 18 inches, having tenons to fit into the mortices below the pegs, and fastened together by hooks and nails. Before proceeding further with the work, bore two holes, of sufficient size to hold a piece of stout copper wire firmly in each piece of the base (P, P, P, P, Fig. 1). The use of these will be explained shortly.

The actual fabric of the stage is now complete. Bear in mind no string or wire should extend from the front to the back of the stage, for the simple reason that these spaces must be left perfectly clear to allow of the exit and entrance of the puppets.

Next fix the drapery in the form of curtains to each side of the stage front. These must be chosen according to your own taste, and should harmonize with the exterior decoration of the theater. The curtains should be gathered up and tacked to the stage front from the inside, as in Fig. 3, from which an idea of the general adornment of the whole theater can be gleaned.

A MOVABLE CURTAIN

The following plan will be found very suitable for the arrangement of the movable curtain. Take a piece of strong copper wire and bend it, as shown in Fig. 4. The length of the unbent portion should be about 30 inches. Fit the two ends, A and B, into holes bored in the stage front, inside and above the opening. The wire rod will thus run the whole length of the actual stage, whilst the ends A and B suffice to clear the fixed curtains already tacked up. Hang the movable curtains by a number of little rings upon this rod. When drawn, the two curtains, which should be of some stout material, will completely cover the stage.

The method of drawing the curtains is arranged thus: A string (L, Fig. 5) is passed through the loop C in the rod, through all the rings from G4 to G, where it is fastened, and then passed on through H and all those rings up to the loop D. The string L then returns through the H rings 4 to 1 to H itself, where it is fastened and ends. By pulling the string L when the curtain is drawn, the ring H is therefore drawn towards D and the ring G towards C, thus opening the curtains simultaneously by means of only one string.

Supposing the curtains to be now pulled right back, thread another string, M, through the loop E, pass it through all the G rings and across to H, where it must be fixed. Then pass this string through all the H rings, through the loop F, and back by way of H to the ring G, where it must be tied and end. It will now be found that by pulling the string M, the rings G and H are drawn together. To avoid any confusion, a distinctive mark should be placed upon the ends L and M of each string.

You must next bend a couple of pieces of strong copper wire into the shape depicted in Fig. 6. The sides A B and C D should measure 20 inches, whilst B C must be of such a length that the ends A and D can fit into the holes P P already bored in the base. These pieces of wire serve to support the wings, trees, or other stage arrangements as occasion requires.

The stage is now complete, and will take to pieces and pack up flat with no trouble or inconvenience of any kind.

INTERIOR DECORATION

The next questions that arise concern scenery. This depends entirely upon the play to be performed. The floor of the stage must be covered with suitable paper, or better still with a carpet. In the arrangement of the wings and the scenery connected therewith, do not forget that the spaces on each side must be left clear. Marionettes cannot enter by doors, and a descent from the ceiling is not only undignified but impracticable. The side scenery must therefore be as simple as possible.

Unless your performance is to be upon a very extensive scale, the actual amount of scenery required is not great. An interior can easily be painted. Pieces representing the walls of the room can be hung upon what may be called the wing wires, whilst the rest of the interior can be painted upon the stage back.

In all probability a rural scene will also be required. A stage tree or two (Fig. 7) should be fastened to the wing wires, and the background of sky and landscape need present no difficulty to a handy amateur. Street scenes can be arranged by hanging the ends and fronts of houses from the wing wires, whilst the background may either depict the street fading into the distance, or have another house at the corner, after the fashion of stageland. A great variety of scenery may be made with the help of an artistic friend; and when at the theater, inspect the effects closely. By doing this many invaluable hints as to setting and scenic inventions can be acquired.

But what is a theater without the actors? Who are to perform upon the boards you have so carefully constructed?

It has already been mentioned that the Marionettes are to be about 8 inches high. This will be found a convenient size for the beginner, since very small figures are apt to be troublesome, and large ones are sure to prove unwieldly. It is important to have the Marionettes so articulated that they will readily answer every motion of the operator’s strings, and be neither too stiff nor too limp.

HOME-MADE FIGURES

The following hints will show how the figures are to be made at home at slight cost. Get an ordinary Dutch doll (similar to that shown in Fig. 8) of the proper size and neatly made. Notice that the hip-joints allow the legs to move upwards freely, a convenience that the ordinary doll lacks. The knee-joints are after the same pattern, and allow the lower part of the leg to double up for sitting and kneeling. These joints should be made to work easily and evenly.

The arms should be attached to the body by what is known as a universal joint (seen in Fig. 9). Make the surface A B (Fig. 10) perfectly even, and then scoop a slight hollow in the wood. In this hollow drive a staple almost up to the head, leaving only enough room to insert a piece of string in the loop, whilst the head of the staple is level with the surface A B. Round off the end of the arm (Fig. 11), and pierce a hole about half-an-inch from the end. Thread a piece of string through the staple and through the hole in the arm, tying the ends together fairly tightly, so that the arm is perfectly free at the joint but does not hang loosely.

For the head, either touch up the original Peggy’s head to make it respectable, or remove it altogether, replacing it by that of a china doll. In the former case, a flaxen wig must be glued over the black painted hair, and a human complexion given to the crimson cheeks. Undoubtedly a better effect is produced by exchanging heads with a china sister.

The dressing of the Marionettes need be a matter of no difficulty. The costumes must depend entirely upon the nature of the play, although certain stock characters may be made once and for all, and kept in readiness. A sailor, a soldier in resplendent uniform, a policeman, and an ordinary man or two can be kept prepared; whilst for the fair sex, an old lady, a young one, a maid-servant, and a little girl are likely to be of service. The remainder of your cast must be regulated by circumstances. The clothing may be fastened to the above-mentioned characters; but in special cases the costumes should be made to take off as occasion may require.

Having prepared the figures, they must now be made to act and move in a rational manner.

Five black threads are attached to each figure and ascend to the flies, where they are manipulated by the performer. A glance at Fig. 12 shows how and where these threads are to be attached. Fix A and B to the right and left hand respectively, C and D to the knees, whilst E must fasten to the back, where it serves to support the figure. These threads should be very fine, for the whole success of your undertaking depends upon their concealment.

WORKING THE PUPPETS

There are two methods of holding the threads and working the puppets, the first of which is also shown in Fig. 12. The arm threads, A and B, are attached to the end of a stick, F; the leg threads are similarly attached to another stick, G, to the center of which the body thread, E, is fastened.

The sticks are then held, one in each hand, or both in the same. Although more convenient for manipulation, this method possesses the disadvantage of limiting each operator to the management of one puppet, and where there are several characters upon the stage, much confusion may result. If the two sticks be held in one hand free play, so far as pulling the strings is concerned, is allowed to the fingers, and there should be no difficulty in working two Marionettes at the same time, one with each hand.

An easier method of manipulating the figures is shown in Fig. 13. The thread attachments are the same, but instead of being fastened to sticks, each string terminates in a brass ring placed upon the finger. The threads should be of such a length that, when the hand is held as in Fig. 13, the body of the puppet will be upright, the legs stretched, and the arms dropped by the sides.

Place the rings upon the fingers in the following order: The body string, E, to the third finger; the leg strings, C and D, to the thumb and little finger; and the arm threads to the first and second fingers, as shown in Fig. 13.

With very little practice the figures can be made to walk, the progressive motion of the legs being manipulated by alternately moving the thumb and little finger. A similar movement of the first and second fingers will put the arms into action.

When sitting upon a chair, the lower parts of the legs bend by their own weight, and you will need only to pull the body string to make the figure rise quite naturally.

The theater, scenery and actors being ready, it remains to decide what they shall play.

Your programme must necessarily be chosen according to the audience. Presuming there is somebody to assist you in working the figures, thereby making it possible to have three or four characters upon the stage at once, the variety of plays is very great, and the choice of one or two short pieces should be easy. Several publishers issue large assortments of Marionette plays, and catalogues can be obtained giving full particulars as to the number of characters required, scenery necessary, and so forth.

The Marionette stage is not adapted to heavy drama. Tragedies would be ridiculous on the “two foot boards.” The rôles, therefore, assumed by each character should be amusing and topical, containing allusions likely to be understood by the spectators, and interspersed with such local “gags” as opportunity may suggest.

The two operators should divide their labors, as far as possible, in such a way that the lady does the female characters, whilst her partner works the men. The reason for this division is clear, for it will come more natural for a lady to caricature the female voice, whilst her accomplice will be better suited to the stern accents of the menacing policeman, or the passionate entreaties of the ardent lover.

WORKING

Practice the parts carefully and thoroughly. Be ready with some joke or patter to cover any mishap that may occur. Accidents are unfortunate, but in Marionette-land quite probable, so if Aladdin’s left arm fails to work at the critical moment, there is nothing to do but make the audience think it all part of the fun.

Supposing the evening for your entertainment to have arrived, and that all is in readiness, place the theater upon a table at such a height that the spectators will get a clear view of the stage, but will not be able to see the flies. The table should be against a wall, and arranged in such a manner that you and your partner have sufficient room to move behind it. In the space between the table and wall a couple of boards must be placed on trestles, so that the operators may stand above the stage.

A curtain must hang from the ceiling to meet the top of the theater. On no account should the audience be able to watch the heads of the manipulators moving the puppets. There are few better plans than to have the stage arranged in the embrasure of a window, for the curtain can then be easily contrived, whilst the “show” does not take any of the space required for the spectators. But this, of course, must depend upon the nature of the room at your disposal.

The guests having been marshaled into their places, the entertainment should open with an overture. If there be intervals in the course of the play, the pianist will find fresh employment, whilst at times a running accompaniment is very suitable.

Start with a one act farce, to be followed by a fairy tale or pantomime. Conclude with another short farce, into which may be introduced all kinds of whimsicalities, jokes, local patter, and topical allusions.

The puppets will do exactly as you direct them. Make them work their best; let the show be worth seeing and hearing, for the possibilities of the Marionette stage are very great, and with ordinary care a most enjoyable entertainment can be produced.