At any rate, conversational scenes frequently ended with physical actions: a dance, a fight, military exercises, horse riding, and so on. Petrushka had a loud, shrill voice whose peculiarity resulted from the use of a voice modifier or swazzle (in Russian: pishtchik) while the other characters were endowed with human voices. Early in its development the comedy included more pantomime than dialogue, but as Petrushka was becoming the sole lead, dialogues-while-acting were inserted into the plot, taking up some of the pantomime space.
The development of the plot was limited and links between scenes were quite loose. The Petrushka show consisted of a series of scenes in which the hero was confronted with various characters.
Although it is established from descriptions of performances between the 1840s and 1879 that Petrushka acted alongside Pulcinella, the Russian puppet eventually eclipsed the famous Italian “mask” from the commedia dell’arte.
#Puppet theatre portable
There is no doubt that the Petrushka Comedy or, in short, Petrushka was performed, at least since the 1840s, with glove puppets above a portable screen. But in the context of representations of this kind the character of Petrushka may very well have appeared later under Western influence. In the 17th century, the German scholar and traveller Adam Olearius, while touring Russia, made a drawing of a portable puppet booth in the form of a tunic, which pointed to the oriental provenance of Russian glove puppets. Some scholars believe that he is a derivation of analogous European characters others look to Asia for his roots still others to Russia itself. The protagonist of the traditional Russian puppet theatre whose name is used generally to denote glove puppets.Įvidence concerning the existence of Petrushka, the comic hero of the Russian puppet theatre, appeared no earlier than in the 19th century.
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