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MARIONETÁŘ JOSEF ŠIMEK A ,,JEHO” LOUTKY VE SBÍRCE MORAVSKÉHO ZEMSKÉHO MUZEA V BRNĚ

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Blecha J.

Slovenský národopis (Slovak Ethnology)

2012

vol. 60

issue 3

259 – 265

Josef Šimek represents the typical Czech marionettist of the late 19th and early 20th century. A range of valuable authentic materials are preserved among his effects; the most precious of these include a set of 24 marionette figures. The article elucidates Šimek’s work and traces the general advance in his knowledge, from a study of his notes on “gigs” in two tour diaries written in 1897-1914 and 1919-1937. The author takes a closer look at the above-mentioned collection of marionettes. He subjects it to a more detailed analysis from the standpoint of the typology of characters and the origins of individual figures. He poses the question of the degree of authenticity of this collection and examines its testimonial value regarding the form of Šimek’s theatre. Based on confrontation of the authentic material with the accompanying documentation and the memoirs, he assesses the trustworthiness of the information available hitherto. His conclusion is that the preserved set of puppets evidently does not correspond to the authentic state of equipment of Josef Šimek’s theatre.

VÝVOJ A SPÔSOBY PREŽITIA BRITSKÉHO MAŇUŠKOVÉHO DIVADLA PUNCH A JUDY – VYTVÁRANIE POST-TRADIČNEJ TRADÍCIE

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Reeve M. J.

Slovenský národopis (Slovak Ethnology)

2012

vol. 60

issue 3

245 – 258

Punch and Judy is one of a number of traditional popular glove puppet forms found across Europe. It is, by a considerable margin, the most numerous of these forms. This paper seeks to account for its relative success. It calls on research undertaken as part of an ethnographic study of contemporary performance undertaken between 2006 and 2007 towards a doctoral thesis. The research consisted of historical analysis and contemporary field-work. The article concludes that the success of the show in part depended on its emergence at a moment when late-modern class identity was coming to be constructed in Britain, that new class-oriented markets were emerging which commoditised cultural products, that performers adapted themselves and the show to these markets, professionalising themselves and, in more recent times, instituting organisations whose purpose was to secure the profile of the form. It goes on to suggest that current western preoccupations with heritage have provided a useful role for the form. The article argues that Punch and Judy puppet show has used the mechanisms of late-modernity to maximise its capital as an ostensibly traditional form.

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2 Slovenský národopis (Slovak Ethnology)

1 Blecha J.

1 Reeve M. J.

2 2012

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MARIONETÁŘ JOSEF ŠIMEK A ,,JEHO” LOUTKY VE SBÍRCE MORAVSKÉHO ZEMSKÉHO MUZEA V BRNĚ

VÝVOJ A SPÔSOBY PREŽITIA BRITSKÉHO MAŇUŠKOVÉHO DIVADLA PUNCH A JUDY – VYTVÁRANIE POST-TRADIČNEJ TRADÍCIE