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Puppet Cabaret: Visual Idioms, Performance Technologies and the Poetics of Czech Special Puppets in a European Context 1850–1950 : (From Artistic Automata through Trick and Variety Puppets, to Puppet Cabaret and Variety Show Clowns and Acrobats)

100%
Jirásková M., Jirásek P.
Theatralia: Revue současného myšlení o divadelní kultuře (Theatralia: The revue of contemporary thought on theatre culture)
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2015
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vol. 18
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issue 2
70-134
EN
This article brings an analysis of the history and development of variety and trick puppets in the Czech lands between 1850 and 1950 together with a discussion of the extant artefacts, with a particular focus on the mechanics of these special puppets and their innovations during the Modernist decades in a European context. Variety and trick puppets were also significant components of the traditional marionettists’ productions and complement, and the article also considers the extant ephemera surrounding that tradition of performance.
2
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The Enigmatic Puppets of Important Czech Marionettists, the Flachs

84%
Blecha J.
Theatralia: Revue současného myšlení o divadelní kultuře (Theatralia: The revue of contemporary thought on theatre culture)
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2015
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vol. 18
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issue 2
35-69
EN
This article brings summative information in relation to the Flachs, one of the leading families of traditional Czech folk marionettists. It focuses on the last three generations, from the mid-nineteenth century to the decline of itinerant family marionette troupes in the 1950s. The article also analyses extant puppets made and used by the family and their distinctive carving techniques.
3

Een labyrint voor onze tijd. Het metaverhaal van de metropool in Paul van Ostaijens grotesken

84%
Stoicescu A.
Neerlandica Wratislaviensia
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2018
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vol. 28
203-217
EN
Apart from poetry, Paul van Ostaijen also wrote grotesque prose. The grotesque shows an inverted world that is equally logical as the real world but governed by different norms and an upside-down morality. It is alienating and familiar at the same time. The grotesque texts reflect on the grand narratives of modernism. In this article, I focus on the image of the metropolis in three stories: De kudde van Claire, De gehouden hotelsleutel and De verloren huissleutel. Firstly, I define the concept of the grotesque. Then, I discuss van Ostaijen’s time in Berlin, before I turn to the metropolis and its inhabitants. They seem to desperately hold on to a logical and dual organisation of their city, lives and world, yet van Ostaijen undermines this dualistic world vision and positions his prose in the domain of ambiguity, in a labyrinth that may be the only answer to the question of the crisis imposed by reality.
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