What is puppet theater definition. Historical reference

Puppet show

Puppets and puppeteers

Puppet Theatre- one of the varieties doll-like spatio-temporal art, which includes cartoon and non-cartoon animated film art, pop puppetry and artistic puppet programs television. In puppet theater performances, the appearance and physical actions of the characters are depicted and / or indicated, as a rule, by voluminous, semi-voluminous (bas-relief or high-relief) and flat puppets (actor puppets) Actor puppets are usually controlled and driven by people, puppeteer actors, and sometimes automatic mechanical or mechanical-electrical-electronic devices. In the latter case, actor puppets are called robot puppets. It should be noted that the phrase "puppet theater" is incorrect and offends the professional dignity of puppeteers, since the adjective "puppet" is associated with the concept of "fake". It is correct to say: "puppet theater", so, by the way, everyone is called professional theaters animations.

There are three main types of puppet theaters:

1. Theater of riding puppets (glove puppets, large cane puppets and puppets of other designs), controlled from below. Actors-puppeteers in theaters of this type are usually hidden from the audience by a screen, but it also happens that they are not hidden and are visible to the audience in their entirety or half of their height.

2. Theater of grassroots puppets (puppet puppets), controlled from above with the help of threads, rods or wires. Actors-puppeteers in theaters of this type are most often also hidden from the audience, but not with a screen, but with an upper curtain or a hedge. In some cases, puppeteers, as in riding puppet theaters, are visible to the audience in their entirety or half of their height.

3. The theater of puppets of middle (not riding and not grassroots) puppets controlled at the level of puppeteers. Middle puppets are voluminous, controlled by actors-puppeteers either from the side or from the inside of large-sized puppets, inside of which there is an actor-puppeteer. Among the middle puppets are, in particular, puppets of the Shadow Theater. In such theaters, puppeteers are not visible to the audience, as they are behind a screen onto which shadows from flat or non-flat puppets are projected. Puppet puppets are used as middle puppet actors, controlled from behind the puppets by puppeteers, visible or not visible to the audience. Either glove puppets or actor puppets of other designs. How does this happen, for example, in the well-known pop miniature by S. V. Obraztsov with a puppet baby named Tyapa (obraztsov’s glove doll put on with one hand) and his father, whose role is played by Obraztsov himself.

Recently, more and more often, puppet theater is a stage interaction of puppeteers with puppets (the actors “play openly”, that is, they are not hidden from the audience by a screen or any other object). In the 20th century, the beginning of this interaction was laid by S. V. Obraztsov in the same pop miniature in which two characters acted: a baby named Tyapa and his father. But in fact, such interactions of actors-puppeteers and puppet-actors led to a blurring of the boundaries between puppet and non-puppet types of spatio-temporal art. Professional puppeteers still urge not to abuse the "third genre", but to use mainly means of expression inherent in the puppet theater.

It should be noted that the specific identity of the art of puppet theater and puppet spatio-temporal art in general is formed not only and not so much due to puppet actors, but due to a single set of many features. Moreover, some features are characteristic of puppet art, while others are common to puppet art and all or some other types of space-time art. For example, such common features, How compositional construction the dramatic basis of performances: exposition, plot, climax, denouement (or finale without denouement). In addition, general genres, realistic and conventional artistic forms, pantomimic and non-pantomimic versions of stage actions, etc., are widely used.

Story

The art of puppeteers is very old - in different countries ah, their own, which later became traditional, types of puppets and types of performances arose. There is evidence of the existence of ritual mysteries in Egypt, during which women carried the doll of Osiris. In ancient Greece, puppet theater existed during the Hellenistic era. The origins of the puppet theater are in pagan rituals, games with materialized symbols of the gods. The mention of playing dolls is found in Herodotus, Xenophon, Aristotle, Horace, Marcus Aurelius, Apuleius. However, in Ancient Greece and Ancient Rome, puppet shows, relatively speaking, variety type and the art of puppet theater came with itinerant groups of puppeteers from ancient india(by land and sea routes through Ancient Iran) and Ancient China. (O. Tsekhnovitser, I. Eremin. Petrushka Theatre. - Moscow-Leningrad.: Gosizdat, 1927)

History of puppet theater in Russia

The first news about the existence of a puppet theater in Russia dates back to 1636, recorded by the German traveler Adam Olearius.

In 1700, the first tour of puppeteers in Russia took place: one troupe traveled through the cities of Ukraine, and the second through the cities of the Volga to Astrakhan. In 1733, at the invitation of Anna Ivanovna, four puppet theaters from among the Italian comedians who arrived as part of the commedia dell'arte troupe worked in Moscow and St. Petersburg.

One of the most famous puppet theaters in Russia is.

Types of puppet theaters

puppet puppet

The variety of forms of performance in the puppet theater is determined by the variety of types of puppets and their control systems. There are puppet dolls, cane, glove, tablet. Dolls can range in size from a few centimeters to 2-3 meters.

The difference in the forms of performances is most often determined by the national traditions of the country, the tasks that are set for the actors by the director of the performance, as well as the relationship of puppets and actors with the artistic design of the performance.

Ability to reflect bright features the character of a person, the persuasiveness of allegory, figurative common noun characteristic of the art of puppet theater determine in the repertoire of satirical puppet theaters, and in a number of countries of Southeast Asia, heroic-pathetic performances.

nativity scene

A traditional Ukrainian Christmas puppet show performed in a two-story crib box, where the story of the birth of Christ was depicted on the upper level, and scenes from folk life were depicted on the lower level. The first vertepniks were bursaks-seminarians. The analogues of the nativity scene in Poland are a one-story shopka, in Belarus - a three-story batleyka. The word "nativity scene" means the cave in which Jesus Christ was born.

Puppet theaters of Southeast Asia

Puppet theater technique

Vaga- a device for controlling a puppet puppet.

Types of dolls

Puppet (including stock)
Doll on a vertical gape
Doll on a horizontal gape
Gapite cane doll
doll on canes
Piglet doll
Nativity scene
Tablet (output) doll
miming
Shadow puppet (including Javanese)
life puppet

Currently, mime dolls are especially popular in the USA, in Ukraine - piglet parsley and nativity scenes, in Europe - puppets. The use of a hatching doll among professionals is not welcome.(?)

The largest puppet theaters

Russia

One of the most famous puppet theaters is the State Academic Central Puppet Theatre. S. V. Obraztsova
Moscow Fairytale Theater
Nizhny Novgorod State Academic Puppet Theater (one of two academic theaters dolls in Russia)
Yaroslavl Puppet Theater

Ukraine

An academic theater school is developing in Ukraine:

Department of Animation Theatre, Kharkiv State University of Arts. Kotlyarevsky,
Department of Puppet Theater of the Kyiv National University of Theater and Cinema. Karpenko-Kary.
Dnepropetrovsk Theater College

Courses have also been recruited at other universities, such as in Lviv.

Western Europe

Puppet theater in psychology

In the 1990s, I. Ya. Medvedeva and T. L. Shishova created a psychological correction technique called "dramatic psychoelevation", designed for children with behavioral and communication difficulties. The main tool of this technique is the puppet theater.

Notes

Literature

Peretz V. N. Puppet theater in Rus' (Historical essay) // Yearbook of the Imperial Theaters. - Applications. - Prince. 1. - St. Petersburg, 1895. - S. 85-185.
Shafranyuk V. A. Puppet spatio-temporal art

DIY finger puppet theater

Do you want to develop fine motor skills baby, speech, thinking and just be able to cheer up the whole family, then turn the room into a temple of art. To do this, you need to know how to make a finger puppet theater with your own hands.

For this you will need:

felt;
threads;
scissors.

As you can see, the characters of the fairy tale "Turnip" are cut out very simply. Each hero consists of two identical parts. But on one side you need to embroider facial features with threads. You can make them and cut them out of dark felt, and then glue or sew.

Fold 2 blanks of the character with the wrong sides, sew along the edge on a typewriter or with a thread with a needle in your hands.

To make a beard for grandfather, wind the threads around your fingers in several rows, cut them on one side. Fold these identical threads in half, sew the beard in place.

But what can be the heroes of the fairy tale "Rocked Hen".

Cut out the beard and bangs of the grandfather, the hair of the grandmother from gray felt. It will also help create a mouse with a long tail. These puppets for the puppet theater can be sewn. If the baby will wear them, cut them out so that they are the size of his fingers. If the performance will be shown to children by adults, then cloth puppets should be slightly larger.

Check out one more interesting idea. This can be a home puppet theater for staging the fairy tale "Turnip". IN kindergarten it is better to have larger characters so that the whole group can see them from afar. But you can also do this by taking:

modeling paste (preferably Jovi, which does not need to be fired, it hardens in air);
yellow and green paste Jovi Patcolor;
acrylic paints;
brushes;
markers;
stacks.

Let's sculpt the grandfather first. Take a piece of pasta measuring 2x3 cm, roll a sausage out of it, form a cylinder. You should get a kind of nesting doll with a torso and head, and at the bottom there will be a notch for a finger.
Separately fashion the handles, attach them to the body. But mark the facial features, beard, mustache with the help of a stack.
By the same principle, fashion a grandmother, granddaughter and animals. When these characters are dry, paint them with acrylic paints.
For a turnip, roll a ball of yellow paste, pull it out a little from above, insert green plastic tops here, fix it.

When sculpting with paste, you will find that it dries quickly in the air, so periodically moisten your fingers with water.

This is how you get a finger puppet theater, with your own hands the child will be able to play the fairy tale "Turnip" or come up with his own plot with some of these characters.

Table theater do it yourself

If you want to have table theater With paper dolls, then enlarge the next image. Print it on a color printer on thick paper. If this is not possible, attach a sheet of thin paper to the screen, transfer the outlines to it. Then place on cardboard, draw outlines, let the child decorate the characters with colored pencils or paints. It remains to cut out the images, glue each one on the side and glue the top of the head to the head.

And here are some more templates, according to which puppets for the theater are easily made. With your own hands or, having given the blanks to the child, cut them out along the contours, glue them in pairs.

If a small rectangular sheet of colored paper is glued on the side, you get a small tube. It should be such that it sits well on the finger. Glue the ears, nose, eyes, front paws to the blank, and you get the hero of the finger puppet theater.

These characters can be made from the most unexpected materials. See how to turn plastic spoons into stage characters.

To make such toys for the puppet theater, take:

plastic spoons;
colored paper;
scissors;
finished plastic eyes;
glue gun;
textile;
narrow tape, scissors.

Then follow these instructions:

Use a glue gun to glue the finished eyes to the convex side of the spoon.
Turn a piece of fabric tied with a ribbon into a dress. For male character just stick a bow tie around your neck.
Cut strips of colored paper with a fringe on one side, glue this hair. Pieces of colored cotton wool will also replace them.

Everything, the children's puppet theater at home is ready. Take a large cardboard box, cover it with colored paper, turn it over. Make slits in the bottom with a knife, insert spoons here and lead the dolls along these holes, as if along a path.

Other characters are controlled in the same way, for the creation of which you will need:

ice cream sticks;
children's magazines;
glue;
scissors.

Have your child cut out pictures of people or animals from a magazine or old book stick them on sticks.

If you want to make another tabletop theater, then milk bottle caps will come in handy. Plastic cups for yogurt.

Glue on the back of these items paper heroes fairy tales, and you can play old stories with them or invent new ones. The background is created from a large sheet of cardboard, which is painted in the theme.

How to make a screen for a puppet theater?

This is an essential attribute of the puppet theater. Check out the easiest options:

Close the opening under the table with a cloth, tying two of its corners to the top of one and the other leg. The child sits on the floor behind and leads the characters at the level of the table top - just above it.
Take an old curtain or sheet. Collect any of these canvases on a rope, tie the ends of the thread on one and the other side of the doorway. Make a rectangular cut in the center at the top of any of these canvases. It should be at such a height that no child or adult sitting behind the curtain can be seen, who play the role of puppeteers.
For the finger theater, a table screen is made. The easiest way to make it out of cardboard. The box is taken. It needs to be disassembled, pasted over with wallpaper or colored paper, bend 2 sidewalls so that a canvas of sufficient size remains in the center. A cutout is made in it, through which the puppeteer shows finger toys.

And here's how to make a screen out of plywood. For her you will need:

plywood;
jigsaw;
fabric or piece of wallpaper;
glue;
small door hinges.

Manufacturing instructions:

Based on the dimensions presented, cut out 3 blanks from plywood: the central and 2 sidewalls. Cover them with fabric.
When the canvas is dry, attach the loops to the marked areas so that you can close the puppet theater screen and fold it.

See how to make a cardboard screen to be able to show performances with mitten, glove, cane puppets. It should be such that the puppeteer fits there freely, standing up to his full height. If the performance is shown by children of different ages, then the tall ones will kneel, placing a pillow under them.

In order to make a screen, you will need:

PVA glue;
rope or lace;
carton boxes;
wallpaper;
stationery knife;
awl;
roulette;
wide brush;
long line;
rag.

A do-it-yourself screen for a puppet theater is made as follows:

The drawing is given for teenagers or adults whose height is 1 m 65 cm. If you are making a screen for children, reduce this figure.
To make it strong, make it three-layer. To do this, stick a second one on one large sheet of cardboard, then a third one on the other side. Apply PVA glue with a wide brush. Thus, you will make a frontal part - an apron.
The side elements are also made in three layers, but the folds, which you then glue to the apron, should consist of one layer.
Connect the parts by gluing them. When the glue dries, sew in these places with a cord, having previously made holes in the attachment points. Attach the top arch in the same way.

It remains to paste over the screen with wallpaper of a soft color so that they do not distract from the theatrical performance.

We make do-it-yourself doll gloves

These can be seen in a real puppet theater. Puppets wear gloves on their hands. By bending your fingers, you can make the fabric character tilt its head, move its arms.

A children's puppet theater at hand will have many characters if you use the suggested template.

But it is not necessary to create all the heroes at once. Let's start with two - bunnies and a pig. Having understood how to make such dolls gloves, you can sew others, thereby gradually replenishing your theater.

If you then make human dolls, you can make a hairstyle from fabric or thread.

The thickness of the character's neck should be such that the puppeteer will stick the middle and index fingers to control the hero of the play.

Before sewing puppets for the theater, place a puppeteer's glove on the recut pattern to decide if the base is suitable. If not, then increase or decrease it. You can do without a glove by putting the puppeteer's hand on the base pattern. Keep in mind that the character will not be static, so you need to add a little on all sides for a loose fit so that the fabric of the hero of the action does not stretch while controlling him.

So, here's what you need to sew a glove doll:

artificial fur and / or plain fabric;
tracing paper or transparent paper or cellophane;
pen;
scissors;
threads;
eye buttons.

Enlarge this pattern. Attach a transparent material to it (cellophane, paper or tracing paper), redraw. Cut along the outline.

Lay the pattern on the fabric folded in half, cut out with a 7 mm seam allowance. For a bunny, it is better to take a gray fabric or white fur, for a piglet - pink.

If you want to draw facial features, ponytails, palms, hooves, then do it now before sewing both halves of each character. Take special fabric dyes that do not fade when washed. If there are none, then use watercolor, gouache, but first apply a PVA solution to the fabric, after it dries, paint this place, but use a minimum of water. When the paint dries, put another layer of PVA on top to fix it.

But it is best to embroider the nose, mouth, pulling these sections on the hoop or sew on blanks of the appropriate colors and buttons-eyes.

Cut out a white fur shirt-front for the bunny glove doll, sew its triangular part to the front half, and the semicircular, in the form of a collar, to the back. To the same reverse side a tail is sewn, and white paws with or without pink claws are attached to both parts.

When small details are sewn, you can grind both halves of the doll on the wrong side on a typewriter or on the face - on your hands. In the latter case, use a seam "over the edge" or take an inlay of a passing color, turn around the side seam with it.

In this technique, other glove dolls are also created, for example, a pig.

When the sides are stitched on all sides, hem the bottom. The ears of the characters can be stuffed with cotton wool or padding polyester. Fill the nose of the piglet with any of these materials, only after that sew this “patch” to the head. Make an applique on his cheeks, giving them a blooming look. It remains to sew some yellow threads between the ears, and another glove doll is ready.

Now you know how to sew characters for a puppet theater, if you want to see it too, then watch the following stories.

theatre, a kind of theater, performances, in which puppets act, set in motion by puppeteer actors, most often hidden from the audience.

According to the method of management, there are 5 main. types (“classical technique”) of puppets: puppets, glove, cane, on a stick, shadow. Puppet - a puppet that walks on the floor; threads are attached to her head, legs and arms, with the help of which the actor, who is above her, leads her to a special. platform. Glove puppets, rope puppets and stick puppets are called riding puppets: the actor here holds the puppets above him. A glove puppet is put on directly on the hand, with a cane actor he works with two hands: one holds the body of the puppet, the other controls the canes attached to the puppet's hands. The legs of such dolls move only in otd. cases. The actor, moving the puppet in space, can give it a certain rhythm of movement. A shadow puppet is a flat image of a living being that casts a shadow on a screen that serves as a stage. shadow t-ra(its variety is silhouette tr, in which the image is a silhouette of a doll tightly pressed against the screen).

In modern K. t. different countries also invented many new techniques and techniques of puppetry. Plastic an object (a cube, a ball, a stick, a teapot, a camera, etc.), a human hand can serve as an image of a living being; the doll can be small or correspond in size to the actor, who moves with her in the usual way. theater stage. Sometimes an actor, with or without a mask, performs in the theater, acting as an equal partner of the puppet. As a result of this renewal and the complication of means in some countries, they began to use instead of the definition " tr dolls» definition of «t-p figures».

The opinions of specialists about the origins of K. t. are more united than about its initial history. The theater, the puppet originates from the puppet-symbol, the puppet of the object. Puppets-symbols, etc. acted in decomp. tongue rituals and ceremonies in Dr. Egypt, Dr. India, in antich. Europe. Some scientists considered China (the first evidence dates back to the 7th century) or India to be the birthplace of K., from where it could migrate to Europe through M. Asia. Mn. scientists are of the opinion about the original origin of K. t. different territories. The dolls of Asian countries are often recognized as the oldest.

In modern The cultural traditions of these countries have preserved many long-established traditions. forms. In Turkey, it is the tr of shadows Karagyoz, named after Ch. comic hero, who was famous for eroticism and sharp jokes towards those in power. In China - performances of glove puppets based on scenes from the Middle Ages. novels, for example. "Journey to the West". In Japan - Mr. Bun-raku, in Krom large, 2/3 human height puppets are led by 3 puppeteers visible to the viewer, and the text is pronounced by a person sitting on a special. platform actor - reciter and singer, accompanying himself on a stringed plucked music. shamisene instrument (sometimes accompanied by several musicians). Mn. representations of cane puppets in India are still associated with temple holidays.

European K. t. originated as part of the culture of the Mediterranean. Mentions of the theater, puppets are found in Herodotus, Xenophon, Horace, Apuleius, and others. In cf. century in Europe, dolls were used by wandering comedians (in Central Europe they were called "spielmans"), and in the 16th century. the chivalric repertoire of chivalrous tales (dramatizations of chivalric tales that were popular and relevant for that time) was formed. It has survived to this day in the forms of the 19th century. in the representations of Sicilian and Bela, puppeteers. In the 16th - 17th centuries. in the countries of Europe, the mystical K. t. forms popular in Germany, France, Belgium. Close, often influenced each other types of this drama were in Poland (shopka), Belarus (batleyka), Ukraine and Russia (nativity scene). The stage in them was a 2- or 3-tier portable box, in which the tiers are "Heaven", "Earth", "Hell". The puppets, planted on sticks, were driven through slots in the floor of the tier by a puppeteer standing behind the box. Gospel stories in this form, K. t. already in the early stages of its existence began to be saturated with “earthly” content, comedy-everyday and satirical. motives.

The earliest doc. evidence of the existence of K. t. in Russia - a drawing in the notes of A. Olearius about his trip to Muscovy and Persia (1636), reproducing a wandering puppeteer, who gives a performance with glove puppets in the square to the accompaniment of a gusler,

Petrushka, as the hero of such representations, appeared in the 18th century, when the so-called. street comedy with regular popular characters. It is believed that one of the masks of the commedia dell'arte - Pulcinella could turn into a puppet and give rise to performances with the same character in Italy, with Open in France, with Punch in Great Britain, with Petrushka in Russia. These characters had a lot in common - a huge hooked nose, a nasal voice (its "artificiality" was achieved with the help of a special instrument, which the performer held in his mouth and which in Russia is called a squeaker), a quarrelsome character that created comedic situations. Unlike these characters, Gan-swurst and Kasperl and Czech. Kashparek did not create their own comedy, but played in other plays, among which were outstanding works. puppet repertoire 18-19 centuries. chfaust" and "Don Juan". Permanent puppet heroes existed unchanged until the beginning. 20th century Only open in France in the middle. 19th century succeeded the weaver Guignol. Images of K. t. arose in the production. G. Kleist, E. T. A. Hoffmann (Germany), Stendhal, T. Gauthier, George Sand, A. Frans (France). Popularity of the tradition heroes at the turn of the 19th and 20th centuries. fell sharply. K. t. predicted death, explaining this decomp. reasons - the backwardness of traditions. K. t., the imagination ruined by industrialization, the competition of cinema. K. t. lost the audience or changed it. Never before intended specifically for children, he received them as ch. spectators. In Munich (1858) the first puppet theater addressed to children was created. Its leader, L. Schmidt, stood up for children. repertoire as opposed to the traditional one. In the beginning. 20th century many teachers. countries attracted special opportunities to K. t. to educate. working with children. At the same time, plastic the power of the doll was discovered by many. famous artists(P. Picasso, P. Klee, X. Miro, M. V. Dobuzhinsky, V. A. Favorsky and others). The image of the doll is present in the music. works (for example, "Petrushka" by I. F. Stravinsky, "Petrushka" by S. V. Rachmaninov). From these heterogeneous experiments in Europe, a new K. t. Podrekka's performances relied on the parodic power of the puppet; Stingy created K. t. permanent humorous. the heroes of Papa Speible and son Gurvinek; Samples in his original "romances with dolls" claimed lyric-ironic. doll element. Performances Center. t-ra dolls under the guidance of Obraztsov developed sa-tirich. and romantic. Opportunities theater, puppets. Podrekka and Scoop used Europ. puppet, and Obraztsov - more popular in Russia glove doll, called parsley (after the name of the main hero). Later, in the performances of his teacher, a doll appeared, invented by N. Ya. and I. S. Efimov on the basis of dolls they discovered in museums from the century. Java (hence the other name of the reed doll - Javanese).

The repertoire of theater theater in the RSFSR consisted of three types of plays. Agitation. groups and t-ry (for example, t-r "Rev. Petrushka") played during the years of Civil. war plays, where the tradition acted. hero ("War of Card Kings", "Petrukha and Ruin", etc.). Opened in 1918, the T-r of parsleys and shadows by the artists Efimovs in Moscow and the T-r of puppets under the direction of L. V. Shaporina-Yakovleva in Petrograd staged works of Russian for children. classical literature (fables by I. A. Krylov in the Efimov T-re, “The Tale of Tsar Saltan” by A. S. Pushkin in the puppet T-re) and nar. fairy tales ("Mena" in T-re Efimovs). With the advent of T-ra Obraztsov (1931), the new stage in the development of owls. K. t., expressed primarily in the creation of a new drama. There were original plays created by the authors in the process of joint. work with t-rum. Such of them as "Gosling" N. V. Gernet and T. E. Gurevich, "According to pike command» E. Ya. Tarakhovskoy, «Magic Galosh» by G. I. Matveev, «Mowgli», «Aladdin's Magic Lamp» by Gernet, «Humpbacked Horse» by V. V. Kurdyumov, became father. puppet classic. From the 40s. puppet theaters in the USSR staged plays for adult audiences, but the works of children. repertoire were played at the most. often. Means. The appearance of k. t.

Det. repertoire of K. t. in the republics of the USSR in the 60-80s. enriched by the search and discoveries of new layers of folklore sources, father. and world literature. Original plays for K. t. were also created. in K. t., along with the works of E. L. Schwartz, S. Ya. Marshak, T. G. Gabbe, Gernet, G. L. Vladychina, there were plays by G. V. Sap-gir, G. M. Tsiferov (“I want to be great” and “You are for me”), V. N. Tikhvinsky (“Katkin’s Day”), V. A. Lifshitz, I. N. Kichanova (“Alyonushka and the Soldier”, “Cat Vaska and His Friends ”), Yu. N. Eliseev (“Sambo” and “Two Masters”), S. L. Prokofieva (“Cuckoo Clock”), V. N. Korostylev (“Aibolit”), E. V. Speransky (“ Beloved Beauty" and "The Soldier and the Witch"); The repertoire included Polish plays. by Y. Vilkovskiy (“Rimtsimtsi the Bear” and “Petrik the Tiger” (co-authored with G. Yanushevskaya), Czech author V. Pospshpilova (“Princess and Echo”), Bulgarian authors R. Moskova ( "Where are you, foal"), N. Iorda-nova ("The wolf and seven kids"). Among the names that appeared on the posters of K. t. Andersen) by V. S. Sinakevich, “Thirty-eight parrots”, “Hello to the Monkey” by G. B. Oster, “Uncle Fyodor, the Dog and the Cat” by E. N. Uspensky, “Losharik” by Sapgi-ra; plays by Czech authors: "The Tale of the Unlucky Dragon" by I. Perzhinova and "The Leaping Princess" by L. Dvorsky In the 1970s and 1980s, K. t. ry and dramaturgy, the production of the play "Dragon" by E. L. Schwartz in the Magnitogorsk T-re, the staging of the story " white steamer» Ch. Aitmatov in the Bashkir T-re. The performances of the Chelyabinsk K. t. “The Career of Arturo Ui” by B. Brecht and “Dead Souls” by N. V. Gogol were marked by the State. etc. RSFSR. Bright performances in Lit. and depict folklore basis created by puppeteers in Lithuania, Georgia, Russia. Seriously and interestingly posed the problems of modern. childhood in performances Est. t-ra dolls (for example, "In our house" by the French author R. Pilo). Interaction and mutual influence of nat. cultures, educating viewers in respect for them were an important factor creativity of the state tons of dolls (by the beginning of the 90s there were 150 of them), which worked in the USSR in 25 languages. To the largest t-frames, along with the State. academic center. t-rum of dolls under the direction of Obraztsov (Moscow), belongs to Leningrad. big tr dolls, to-ry in con. 50s - 60s. headed by M. M. Korolev, and in the 70s - early. 80s - V. B. Su-darushkin. Since the creation (1959) of the department of puppets in Leningrad. in-those t-ra, music and cinematography in the country began (at the initiative of the Queen) the training of specialists for K. t. 90s it was also conducted in the theater, universities of Yaroslavl, Yekaterinburg, Tashkent, Tbilisi, Kharkov, Minsk and in secondary theater schools in Nizhny Novgorod, Saratov, Irkutsk, Dnepropetrovsk.

K. t. East countries. Europe with con. 40s worked closely with the K. t., was close to him in terms of organization. structure (state stationary t-ry with large troupes), according to the repertoire, according to the ped. principles. From owls. K. t. a reed doll also came here. At the same time, the tanks of Poland, Czechoslovakia, Bulgaria, Romania, Hungary are independent and bright pages of the post-war period. European K. t., who made a great contribution to its revival. In the 60s and 70s. became famous for their children. Polish performances. t-ry Lyalka, Harlequin, Grotesque, rum. mr. Tsenderike, Hungarian State. tr dolls, Sofia Center. tr dolls. In the 70-80s. Czech was very popular in the world. Mr Drak from Hradec-Královy. Festival "Materzhinka" (from the name of the kindergarten - "mother's school"), which takes place 1 time in 2 years in different cities, Czech puppeteers dedicate performances for the audience of the ml. age.

Actively looking for new modern. forms puppeteers Zap. Europe. In the 60s. I. Joly (France), Stockholm puppet troupe under the direction of M. Meschke (Sweden), Brad and Puppet tr. under the direction of P. Schumann (USA), later F. Genty's troupe (France) became famous; in the 80s. - T-r "Triangle", in which cynj rugi Burwinkle (Netherlands) work. A special type of K. t. is represented by the so-called. solo puppeteers. max. A. Roser (Germany) is the largest among them. Western European puppeteers work in the main. small groups, often families. Some of them continue the old tradition not only in traveling way of life, but also in the repertoire. Many work specifically for children. gardens and schools. A special sphere of action of the theater, puppets in the West was its use in the field of psychotherapy.

In Ros. Federation to the con. 80s there were many prof. groups of puppeteers outside the established system state theaters, eg. family shopping mall "Shadow" (the second team in Moscow, working in the technique of shadow puppets and already gaining fame).

One of the forms of exchange of creative experience between puppeteers decomp. countries are international. festivals, participants and diplomats to-rykh more than once were also father. K- t. Voronezhsky K. t. for the play "The Lake Boy" by P. Vezhinov received a gold medal at the international. Bulgarian festival. puppet dramaturgy in Varna (1988). The activities of the Intern. the union of activists of the t-ra dolls - UNIMA (Union International de la marionnette, UNIMA, founded in 1929). In many countries work nat. UNIMA centers. Such a center operates in Moscow at the Intern. theater confederations, unions. I. N. Zharovtseva. K. t. is one of the first types of theater, with which children meet. Bright entertainment, frank conventionality of the art of "playing dolls", close to the needs of children. perceptions, make the process of comprehending reality, the peculiarities of the human character, the complexities of relationships between people fascinating and accessible to the child. Synthetic the nature of K. t. gives the child the first ideas about the features of art. reflections of reality in the claim-ve. In addition to the laws of property. theatre, art, figurative art. The structure of the puppet show introduces children to the world of literature, painting, and music. In communication with K. t., children at the level accessible to them get acquainted with the aesthetic. categories of the beautiful and the ugly, the comic and the tragic. Strong emotional impressions, which the child receives at the performances of K. t., admiring the good characters, empathizing with them and condemning the evil ones, directly orient the child in the world of morals. representations.

With a doll, a child gains experience of relationships, as a rule, even before meeting with K. t. But there is a significant difference between household and theater, dolls. In the performance, the doll acts as a character, symbol actor(person, animal, object). She participates in certain events, enters into decomp. relationship with stage partner, with its leading actor. In addition, the existence of a doll on stage is determined by aesthetics. system chosen by the directors. Stylistic and genre solution of the performance of the interaction between the actor and the puppet, the use of decomp. types of dolls in one performance, its color, light and music. scores subordinated to semantic content - all this is quite difficult for a child. For this reason, theater art, taking into account the age characteristics of its spectator, the possibilities of his perception, his ability to cognize, always determines the age address of the performance. Preschoolers, eg. it is difficult, without weakening attention, to follow the development of a complex plot, to delve into the motivation of the characters' actions; wealth of intonation shades are not yet available. In performances for kids, K. t. uses in the main. simple decorations. constructions, clear motives for the behavior of the characters, a simple plot, clear morals. theater alternatives, collisions. ml. schoolchildren are already capable of longer detailed attention to the plot, they react more vividly to the nuances of the verbal fabric of the performance, they are able to detect the relationship between the word and the action, the deed and the motives that motivate it, they better distinguish the shape and color of the object. Adolescents show an increased interest in the plot of the play, the dynamics of its development. Art. schoolchildren have real opportunities for a holistic perception of art, therefore, in performances for them, K. t. complicates the composition, introduces complex music, light scores, and uses techniques such as caricature, grotesque, and satire. Difficulties for K. t. with children ml. age, are that in children. The audience actively manifests both the general age-related reactions of children expected by the teacher, and pronounced individual ones, depending on the child’s personal experience of communicating with the claim, his temperament, upbringing, and preferences. What fascinates a young spectator who first came to the performance does not evoke an emotional response in a child who has repeatedly been to K. t. Children are differently predisposed to one or another component of the performance: some are more active in responding to music, others are more sensitive to lighting effects and artistic space. solving the performance, others are most interested in the mechanics of puppetry, etc. The visual reactions of even the audience of the same age are very diverse and differ from the adult audience in emotionality, directness. manifestations of feelings.

The collective nature of the perception of the performance dictates its own laws for the formation of the reaction of the audience. An unexpected and incorrect reaction of a part of the audience can destroy the completeness and truthfulness of the perception of the performance. The intermediary who takes responsibility for the relationship between the t-r and his spectator becomes a ped. part of t-ra. Teachers participate in the work of the teacher on the performance at all its stages: in the choice of the play, its analysis by the troupe, during rehearsals. They orient the troupe to the accuracy of the age address of the play, fix the peculiarities of its perception by children at the screenings, and act as an artist. advice of t-ra with an analysis of the reaction of small spectators. The teachers of the t-ra are on duty at performances, perform with introductions, in a word before the performance, take part in organizing tours. Theater, educators have a method. and organizational assistance to teachers (method of discussing the performance, creative evenings, meetings, competitions, etc.). In practice, ped. guidance of children in their acquaintance and understanding of the spectacular art of K. t. is carried out by all adults related to the upbringing of the child and his involvement in the art. Adults should prepare children for what they will see when they come to a performance in K. t. A child can be told in an accessible form what a performance in a theater is (as a rule, he is already familiar with television) than a puppet the performance is different from the cartoon, book, illustration. If a child goes to a shopping center for the first time, he should explain the structure of the theater, buildings and the theater, the hall. When lit. the fundamental principle of the performance is familiar to the child, adults should fantasize with him on the topic: “How can this be done in K. t.?” This kind of preliminary inventing your own performance helps to focus the attention of children on the image-artist. details of the performance, means of creating an image in cinematography, scenes of action.

Inexhaustible opportunities for the development of children's imagination, ingenuity, design skills, vital observation, spaces. imagination, graphic and composition. vision, skills of expressive speech creates amateur K. t.

Lit .: V. N. Peretz. Puppet trade in Rus', St. Petersburg, 1895; Simonovich-Efimova N. Ya., Notes of a parsley, M. - L., 1925; Obraztsov S., Actor with a doll, M.-L., 1938; his, My profession, M., 1981; his, All my life I play with dolls, M., 1985; D with m m s and and E. S., Dolls on the stage, M. - L., 1949; Fedotov A., Technique of t-ra dolls, M., 1953; his own, Animated silhouettes, M., 1961; his own, Secrets of t-ra dolls, M., 1963; Tr dolls zarub. countries. [Translations of plays], M. - L1959; Smirnova N., Sov. tr dolls, 1918 - 1932, M., 1963; s e f e, T-r Sergei Obraztsov, M., 1971; her, And dolls come to life, M., 1982; What and how in m-re dolls. Sat. Art., M., 1969; Karamanenko T. N., Puppet shopping mall - for preschoolers, M., 1969; Speransky E., Tale of a strange genre, M., 1971; In the Dollhouse. [To help the artist. amateur performances], M., 1972; Solomonik I., Trad. tr dolls of the East, M., 1983; Nekrylova A. F., Gusev. V. E., Rus. nar. puppet theatre, L1983; E. S. Demmeni. Vocation - puppeteer, L., 1986; Nekrylova A.F., Russian people. mountains holidays, entertainment and spectacle con. XVIII - beginning. XX century., L; Jurkowski H., Dzieje teatru lalek, Warsz.

Great Definition

Incomplete definition ↓

N. I. Smirnova

Egyptian tomb. Its door opens from the warm air that comes from the sacrificial fire.

How often in life do we pronounce the words - "doll", "screen", "puppet", as in judgments about people we use the expressions "pull the string", "soulless doll", "idle doll", or even abusively and angrily - " damn doll." In strict newspaper articles we read: "a puppet government", "the head is a puppet", "behind the screen of high-profile reports". The writer G. Ibsen called his play "A Doll's House". "Open secrets," people say ironically when they want to say that there is no secret at all. "Puppet Comedy!" - we are indignant about the vulgar trick. "Some kind of parsley!" - get angry when faced with confusion.
Since ancient times, in the languages of many peoples of the world, there has been a comparison of human life with a puppet that is pulled by a string.
The puppet theater has long excited people both with its strange resemblance to living beings, and with the fact that it constantly gave rise to philosophical reasoning: the example was too obvious - managing and being controlled.
The theme of the puppet, the threads that set it in motion, and, finally, the theme of the human will that guides this movement, are constant not only in ancient, but also in medieval philosophy.

Antique Greek figure. She is holding an image of a sheaf of wheat and the sun. Details are driven by a specially attached rope.

As far as people remember themselves, always - in childhood, everyday life, religious rites - there was an object next to a person that he endowed with a special relationship: whether this object was a symbol of God (or many gods), whether it personified the secret of nature, or simply depicted a person.
From faith in the ability to depict what is hidden from the eyes, what is only guessed behind the change of day and night, winter and summer, life and death, the movement of the sun and the aging of all living things, from faith in the ability to express one’s attitude to these phenomena in simple and understandable forms, movement and the puppet theater grew.
Man has always been worried about one of the amazing properties of the puppet theater - the miracle of a dead object coming to life right before the eyes of the viewer.
And from time immemorial, this is a miracle - a simple change of rest by movement began to be colored with mystery, mystery.

Greek tomb of Bacchus. Its upper part rotates thanks to a hydraulic installation.

But it was noted that a miracle only becomes a miracle when an object that comes to life acquires the ability to resemble a living being - a person.
From time immemorial, man's capacity for fantasy aroused by this astonishing miracle has also been noticed. That is why, probably, the motionless images of the gods - and in ancient times they were in every house - were replaced by moving figures and figures, which a person endowed with a special attitude. This was the beginning of the puppet theater. Its origins.
In fact, the man saw a figure come to life. This prompted him: she is moving - therefore, she is alive, and since she is alive - she is able to think, and if she thinks, then she has will and desire. But if she is still not a person, but something else, different from him, then, obviously, there are such secret spheres, into which it is not subject to human thought to penetrate. And these areas inaccessible to humans for a long time remained the secrets of death and the emergence of life, the secrets of fertility and natural disasters.
The puppet theater has survived thousands of years, dozens of historical structures.

This engraving depicts the action of tablet puppets that move with the help of a rope. It is believed that these figurines were found in Roman ruins.

The first mentions of puppetry associated with festivals in Egypt.
Women went from village to village with songs, carried small figurines in their hands, thirty to forty centimeters high, and set them in motion with the help of special ropes. The flutist walked ahead. Such dolls are found both in Syria and on the territory of Latin American states.
Archaeological excavations have helped to see a picture of the oldest festival in Egypt, dedicated to the life of the gods Osiris and Isis (XVI century BC).
The spectators who gathered for the performance did not sit in one place. Crowds of spectators were in groups on both sides of the road, and the "spectacle" was piled up on many chariots. Such a cart drove up to the first group of spectators, the actors played the first scene on it - the chariot drove on. The next one drove up - that's the continuation of the action (this principle was later preserved in the English medieval theater and was called "pedzhent"). The division of the action into separate scenes, which were also played by different actors, is not yet the best essential feature this presentation. The main thing was that the roles of the gods in this theater were performed only with the help of puppets. They were carried on the hands and set in motion by the hands. Man could not assume the role of God.
Let's pay attention - a person depicts a god, a kind of "higher" being, not with the help of a costume, a mask, not with the help of his own body, but with the help of a special object. In this way, he wanted to express a certain idea with an immeasurably less "mortal" (and in the eyes of a person even immortal) material - clay, wood - than himself, a mortal person.
Religion took advantage of man's belief in the special properties of inanimate but moving figures.
In ancient Greece from precious metals and precious woods made huge figures, which were called automata. They came into motion only at the most solemn moments of the religious action.

Ukrainian nativity scene with dolls. Folk Christmas performance. XVIII century. From the Museum of the State Academic central name S. V. Obraztsova.

These automata can hardly be called a theater in the full sense of the word, but the element of theatricalization in these performances still existed.
With the help of steam, drive belts, people controlled the movements of huge figures.
"How alive!" - Witnesses of these spectacles exclaimed.
The priests set in motion the head, arms, legs of automata-bots, causing fear, creating an atmosphere of sorcery, mystery, horror.
The manufacture of automata with the same striking power of influence persists for a long time in the ancient world.
The Greek tradition is strengthened and immeasurably expanded in Ancient Rome.
The Roman poet Publius Ovid Nason describes a miracle that happened in the temple when, during a solemn sacrifice, the statue of Servius Tullius closed her eyes with an angry gesture of her hand so as not to see her criminal daughter.

Model of the Krakow Shopka. Poland, XIX century. From the Museum of the State Academic Central named after S. V. Obraztsov.

And Titus Livy (a Roman historian), describing the miracles that took place in Rome during the festivities in 578, mentions a feast arranged in the public square in honor of the gods reclining on purple beds, in front of the laid tables: "The earth trembled: in the middle of the forum, where there were lodges, the gods who rested on them turned their heads away, refusing food. This miracle struck citizens of all classes.
And besides, in every house - in ancient Greece and in ancient Rome- always had their own dolls, and sometimes even a collection of dolls. They were part of the decoration of rooms or table decorations.
The most skillful masters of Athens, Megara, Ephesus competed in the art and miracles of mechanics.
Their dolls, which have survived to this day, were distinguished by the elegance of style, beauty of decoration, and ingenuity. The toy "flying dove" has come down to us - a prototype of future aircraft. This is an amazing for that time, a perfect mechanical figurine of very fine workmanship.
They knew the ancients and other dolls.
In ancient Rome, they staged a procession with huge puppets. Caricatured mechanical images amused or intimidated the crowd. Gut were huge fantastic African monsters, which were called sharp-toothed, with huge, wide, terrible jaws.
At that time, carnivals were often arranged. During the carnival, everything seemed to change places - a slave could laugh at his master, a jester became a patrician, an artisan could portray Caesar himself.

Frame. Javanese flat leather doll. Indonesia, 19th century. From the Museum of the State Academic Central named after S. V. Obraztsov.

There was also another theater in Greece. One of them was led by a puppeteer named Poteyn.
These theaters played secular stories, fables, parables, comedies of Aristophanes, Plautus, and other ancient authors, trying first of all to amuse and amuse their audience.
On the territory of Ancient Greece, an art arose, which is commonly called the Bethlehem box.
This "theater" for the first time and in a very original way tried to tell about the universe, about the existence of "heaven" and "earth", "top" and "bottom", "divine" and "earthly" in the form, of course, as it seemed to the ancients.
Someone came up with the idea to depict the world with the help of a box in which there is no front wall and which is partitioned in half horizontally.
Then they made small dolls and placed them below - under the partition. And on top they settled dolls that depicted the gods. So it happened: people - below, gods - above.
But I wanted the dolls to move.
They came up with such slots at the bottom of the box, where the rods from these dolls were inserted. The rods threaded through the slots could be controlled - this is how the movement was born. And then they came up with sketches, whole plays - and the theater turned out. Serious theatre. For adults.

Medieval woodcut. The rod attached to the head of a three-dimensional doll, which the master holds in his hand, attracts attention.

When the ancient states collapsed, and new formations were created on their territory, small boxes with unpretentious dolls were inherited by the next generations.
Puppeteers roamed around Europe with boxes. Everywhere they showed the same story of the birth of Christ and the story of King Herod.
Christ was in the upper, "divine" compartment of the box. And downstairs, in the "human room", more and more new characters, plots, events often began to appear. Every scene has its own.
Echoes of this theater still live today.
In many countries there is very strong evidence of how this simple idea has influenced the development of culture.
The first puppet shows have been preserved in the memory of people as one of the forms of magic, spells.
Javanese theater, for example, arose from the ritual of worshiping dead ancestors.

Illustration from Don Quixote by Cervantes depicting a folk puppet show by Spanish itinerant puppeteers. Puppets on a rod played out scenes from French royal chronicles and Spanish romances.

As in other countries of the world, in particular in some areas of the Malay Archipelago, in Indonesia there was an idea that the dead had magical powers and could provide protection and assistance to the living.
To attract the spirits of the dead, special figurines were made, in which they supposedly should move in. The very souls of the dead appear to many peoples of the world, including some peoples of Indonesia, in the form of shadows. Thus, one of the original types of theatrical spectacle arose - the shadow theater.
Shadow theater was most widespread among the peoples of Asia and the Middle East. The shadow theater is characterized by an appeal to the epic, folklore. The shadow theater was most widespread in the Tang era (7th-9th centuries). The images of the Indian classical epic "Ramayana" and "Mahabharata" are preserved in the performances of wandering puppeteers in India and Indonesia to this day.
And this is how the shadow theater was born on the island of Java. Initially, in every house, people evoked the souls of dead ancestors. They coaxed them with treats and incense. This was done among the Javanese, as a rule, by the head of the family in his own house. Only later it passed into the hands of certain people - priests, shamans. And in order to assure yourself real existence these "souls", people came up with the shadow theater.
A special profession appeared - puppet drivers.
The people who worked with dolls were called dalangs.
Dalang showed the shadows of mythical ancestors, sang their heroic deeds and deeds.
Over time, these heroic tales hymns of praise turned into narratives with a certain plot, constant heroes.
Such a theater was called wayang-kulit. The unhurried, epic nature of the presentation of the plot (and the performance began at ten o'clock in the evening and lasted until dawn) was punctuated by cheerful dynamic scenes. They were necessary for the relaxation of the audience. Then two comic figures appeared - Killekyata and his wife.
The doll depicting Killekyata was black with tousled hair, thick lips, a protruding belly, crooked legs and arms. This folk hero joked cheerfully and always topical.
It was believed that Killekyata had an impact on fertility and harvest, so the figurines - a sculptural image of this hero - were placed by farmers on the field during the harvest. They hoped that this would help to reap a good harvest.
Decorations were already used in the ancient wayang kulit. They were needed to indicate the place of action (palace, gates, mountains, forest), necessary for greater reliability of the story. And the story itself remained a striking mixture of magic and reality. There were as many incantations about the fragility of life, stories about the gods, as there were vivid pictures of life around.

Folk festivals in Russia. Performance with Petrushka. XVII century. Engraving by the German traveler Adam Olearius.

From generation to generation, century after century, "playing with a doll" has entered not only into religious, magical, but also into artistic sphere human life.
A person not only learns the nature of the puppet theater, the ways of its influence on people, but also consciously uses or rejects these properties.
Centuries will change, millennia will pass, and a person will admire the properties of a dead object that comes to life, acquiring its own own life, filled only with its inherent rhythm, character and content, or, on the contrary, will indignantly reject this property in order to search for the similarity of the doll with a person.
Born in the Middle Ages folk theater dolls. These artists on the square had no need to prove to their audience that their little heroes have a special magical power, that they are "alive". The puppeteers did not consider it shameful to go directly to the public to demonstrate their skills - a miracle of skillful hands and imagination, ingenuity.
For many centuries, the puppet theater has been developing alongside the drama theater, sometimes turning out to be its ghost or mirror, sometimes its shadow, and sometimes even a surrogate.
But it is precisely in the last millennium that those special features puppet theater, which we appreciate today and which make it an independent living art.
All peoples who knew the puppet theater, one way or another connected with magic or a religious cult, have literary records of at least one or two plays (or scenes), descriptions of puppets, stage arrangements, performances.
Many have survived and literary sources- testimonies of prominent writers who mentioned one or another traditional spectacle that has been preserved for many centuries.
These plays were built as review plays: the same hero was shown in relationships with other persons who could be replaced over time. Even in those countries where we know almost nothing about the performances themselves, their direction, puppets and scenery, we always meet one or two puppet heroes with whom the whole country is familiar.
In puppet theaters, starting from ancient times, there were typical images that lived for centuries, and today's, "momentary" heroes often appeared next to them.
So it was in ancient times, and in the Italian theater of the Middle Ages.
Along with the heroes of fables and legends, characters of folklore and ancient literature topical "popular figures", "portrait" dolls also acted.
On the territory of Romania, for example, in the puppet theater, the figure of Napoleon, extremely beloved in this theater, was constantly introduced.
It is even possible to trace exactly how "popular faces", with layers of time, gradually became generalized images, and over the centuries - and household heroes. The interaction of such common characters led to the birth of "types of life".
Life itself selected, formed these "types".
There were national puppet heroes. They were created over the centuries and remained immortal through the centuries.
Historically, puppet theater all over the world, having become a truly folk art, developed in very close proximity to all forms folk art: fine (including folk crafts) and, of course, folklore.
Puppeteers played many folk tales, parables, legends.
The image that passed from oral folk art to the puppet screen (and this "transition" was carried out for decades) was enriched not only with new features, but often acquired a completely new character.
Then these same folk heroes became the subject of study. great literature. But then they already looked a little like their ancestors - the puppet image acquired, in comparison with the verbal one, not only a certain exaggeration, but also great depth.
Over time - and above all in Europe - the puppet theater has become a kind of "pantry", a treasury of "types of life" and many plots.
Scientists from Italy, Romania, Germany proved that the plots of the works "King Lear", "Romeo and Juliet", "Faust", like many others that have become the pride of world literature, were known long before Shakespeare and Goethe, not only in oral art, but and puppet shows.
Goethe met the plot and image of Faust at a puppet show. “We may consider it established,” writes Wilhelm Kreuzenach, the famous historian of Germany, “that the first decisive impression of the legend of Faust was made on Goethe by the spectacle of marionettes.”
Even after Goethe touched Faust, the folk play on this plot not only did not lose its significance, but continued to be the pride of the repertoire of many puppet theaters in Europe. The genius of Goethe illuminated it with a new light.
Until now, many puppet theaters in Europe play fairy tale plays, the plot of which almost completely coincides with the plots of Shakespeare's tragedies. These are not at all adaptations of the plays of the great playwright, but those folk plays, which Shakespeare probably knew and who were born long before his birth. They have changed little since then. And, strange as it may seem, it is the old puppet tales often turn out to be those "storerooms", "repositories" of plots and images, from which even today one can still draw a lot of all sorts of wisdom.

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