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    A Photographic Guide to the History of Oriental and Occidental Shadow Puppet Theatre
    A Photographic Guide to the History of Oriental and Occidental Shadow Puppet Theatre
    A Photographic Guide to the History of Oriental and Occidental Shadow Puppet Theatre
    Ebook57 pages20 minutes

    A Photographic Guide to the History of Oriental and Occidental Shadow Puppet Theatre

    By Max von Boehn

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    About this ebook

    This classic book contains a photographic guide to the history of the oriental and occidental shadow puppet theatre, and will prove to be a fascinating read for anyone with an interest in the subject.This book contains classic material dating back to the 1900s and before. The content has been carefully selected for its interest and relevance to a modern audience.
    LanguageEnglish
    PublisherRead Books Ltd.
    Release dateDec 3, 2012
    ISBN9781447484622
    A Photographic Guide to the History of Oriental and Occidental Shadow Puppet Theatre

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      Book preview

      A Photographic Guide to the History of Oriental and Occidental Shadow Puppet Theatre - Max von Boehn

      THE SHADOW THEATRE IN THE ORIENT

      HITHERTO we have been tracing the development of the puppet stage in its various aspects up to the threshold of the modern period. Before going further and attempting to give an account of its present position we must cast a glance at the non-European puppet theatres, which unquestionably have had a real influence on the marionette art of the Old World.

      First of all comes the shadow theatre, which originated in the Far East, and entered Europe during the rococo period, at the time when China was the latest fashion. The shadow stage does not deal, like the marionette theatre, with rounded figures, but only with their shadows. Its technique is closer to the film than to the puppet theatre, since the art of the film also works, not with three-dimensional objects, but only with their two-dimensional representations. As a form of artistic expression it stands very high. It is the art form, says Georg Jacob very prettily, which approaches nearest the poet’s dream, the creative power which reaches consummation in a waking dream; it can therefore reflect the poetic conception in all its freshness and original form, vainly striven after otherwise. Its origin is to be sought in China, where, during the Han period, in the reign of Emperor Wu (140–86 B.C.), it arose out of magical celebrations. Its scope embraces all possible incidents of the natural and supernatural worlds, intermingled with much grotesque humour and riotous fantasy. The figures are typical of the subject-matter. The good characters have human faces, the evil characters have devils’ masks. These were not treated as pure silhouettes; the faces only were outlined in black. The ancient figures were made of bone or horn, transparent and painted; the modern, according to the description of Carl Hagemann, are made of stiff, oiled paper of a golden yellow colour; the bodies are cleverly built up out of a number of

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