Keller - Historical Notes On Spanish Puppetry
Keller - Historical Notes On Spanish Puppetry
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HISTORICAL NOTES ON SPANISH PUPPETRY
DANIEL S. KELLER
Being chiefly a folk art pupperty hasAs Varey pointed out in the Revista de
yielded only a fragmentary record of Filologia
its Espaiiola of 1954,2 wandering
past, leaving gaps in our knowledge which
minstrels-those versatile medieval juglares
have challenged the historian ever since
who did not limit themselves to singing,
the classic work of Charles Magnin ap- composing, reciting, or tumbling-were
peared a century ago.* Since then numer-
reported in the early thirteenth century to
ous other histories of the puppet theater,
have taken puppets with them into Spain
from Italy and France. Whether these
either national or continental in scope,
have come forth from university and other
foreigners helped to establish puppetry
presses. The first extensive, documented
firmly in the Iberian Peninsula by the
history of Spanish puppetry from its origins
sixteenth century is difficult to determine
until the mid-eighteenth century was pub-because only a few scattered references
lished in 1957 by J. E. Varey of the Uni-survive from early times. But that the
versity of London.' Varey's history begannumber of itinerant foreign puppet show-
as a Cambridge doctoral thesis in 1950. men who came to reap a harvest in Spain
Perhaps it is fitting that histories of the
must have increased substantially by the
puppet theater in France and Italy have, in
seventeenth century is confirmed by such
fact, preceded a counterpart for Spain, contemporaries
in of Cervantes as Covarru-
view of Spain's long dependence on her bias, Suarez de Figueroa, and Crist6bal de
Romance neighbors for a supply of puppetVillal6n.3 The lexical impact of this in-
showmen and other entertainers. Curiously
vasion was felt in the importation of Italian
enough, even today some of the more and other foreign dramatis personae and
imaginative and artistic puppeteers terminology
in having to do with public en-
Spain acquired their training or at leasttertainments and stagecraft. One thinks of
the durable Catalan character Crist6fel and
their first serious interest in puppets while
living abroad. his rowdy companions, inspired by the im-
What manner of men were Spain's pup- provised mask comedy, and of the techni-
pet showmen? What kind of performances cally elaborate scenography of the Floren-
did they give? What was the nature of tine Cosime Lotti, who resided in Spain at
their audiences? What sort of puppets did the time of Lope de Vega.4
they use? Where were their theaters or Varey has shown that some of the early
their portable booths to be found? When- minstrels who engaged in puppetry ranked
so far as we know-did this minor form of low in the hierarchy of juglaria performers,
dramatic art begin? These are a few of the being preceded by instrumentalists, singers,
questions that have interested researchers and the lofty doctores de trovar. Nonethe-
and for which partial answers are now less, both palace and public plaza had pup-
available. pet shows, the same showman occasionally
being called on to give identical plays for
royalty at one time and place and for com-
*A paper read at the Folklore and Philologymoners at another. The diversified and
Session of the Philological Association of the
democratic nature of Spanish puppet show
Pacific Coast, Stanford, California, Nov. 29,
1957. audiences, as described by Magnin,5 may
205
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206 HISPANIA
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SPANISH PUPPETRY 207
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208 HisPrANA
the principal full-time hand
the motion puppet
picture.
tours the fairs in cline
Catalonia from numbe
in mere March
November, havingif
found
those this mobile ac
performers w
ty financially more successful than
and imagination tog
fixed urban theaterness withtoits
adapt themse
strenuous r
tory demands andmass the competition it
entertainment i m
face from motion leisure. pictures and other
tractions. Vigues is an educated man wh
child-oriented shows areNOTES
scenically tast
and free from any form of vulgarity.
1 J. E. Varey, Historia de los titeres en Espaiia,
vocal versatility desde
is sus
an advantage
origenes for
hasta mediados del siglo XVIII
(Madrid:themselves
puppets, which lend Revista de Occidente, 1957).
toSee also
imp
Varey's
sation and need no set articles, "Representaciones
script so de titeres en
long as
teatros piiblicos y palaciegos: 1211-1760," RFE,
dialogue is lively.
xxxviii (1954), 170-211; and "Titiriteros y
volatines calls
If the hand puppet en Valencia: 1585-1785,"
for livelyRevista d
Valenciana de Filologia, in (1953), 215-276.
logue to be at its best, the marionet
2 Reference to the use of puppets by medieval
not so demanding in
jongleurs this
is also made by respect.
Paul McPharlin in hisIt
certain The for
advantages Puppet Theatre
thein performance
America. A History: 1524
to Now (New York, 1949; see p. 3). McPharlin's
tricks, transformations andinformation
history contains much valuable pantom about
which have an international appeal
the development of puppetry in Spain's former
colonies. See also J. E. Varey, "The Carrillo, a
which continue to form part of the
Popular Puppet Theatre in the Philippines, 1880-
popular variety 1900,"
bill. Harry
in the British journalV. Tozer
The Puppet Mase
Englishman who ter, I, No. 6, New Series (August 1953), pp.
46-49. has lived in Spain
more than thirtySSee
years
passages by and who
these writers direct
cited in Am6rico
troupe known asCastro's
Marionetas de MLN,
article "La palabra titere," Barce LvI
has mastered the 181. exacting technique
(1942), 505-506, and also Varey, RFE, xxxviin,
constructing and manipulating
4 Varey, RFE, xxxviii, 196-197. trick
5 Charles Magnin,
pets. Some of these figures Histoire des are
marionnettes
used en
short interludes Europe
that depuisoccasionally
l'antiquitgd jusqu'a nos jours (2nd
ed., Paris, 1862), p. 103. ser
a satirical commentary on
6 Joan Amades, modern
"Titelles life.
i ombres xineses," in
Serie A, Vol. viii
such interlude, called The of the Biblioteca
Robot de tradicions
Rebe
populars (Barcelona, 1933). This was a limited
portrays the monotonous,
edition of some 150 copies,mechanized
now hopelessly outof-
of factory workers in
print. I have usedthe year
the English 3000.
translation of the
first part, by
of the workers leads a H.revolt
V. Tozer, who kindly
againstlet me
have a typewritten copy. During World War II
maddening routine. For
this English versiona was
short
published in time
mimeo-
successful and rejoices with
graphed form by the Puppeteers his
of America. fe
7 Federico Garcia Lorca, Obras completas (Ma-
workers, but eventually
drid, 1954), pp. a vengeful fore
950-951.
lowers a powerful electro-magnet
8 McPharlin, p. 78: "Even in Rome Lentover
was the
liveliest season
unsuspecting rebel, for puppets,
lifts and when scores
dropsof little
theatres were open to take the place of the closed
repeatedly untilopera
he is annihilated. O
and playhouses."
9 Varey, RFE, xxxviii,
signal from the foreman the 201-204.
rhythmic
10 See Varey's
notony of the work begins article "The Puppet Theatre
again. Fantaof
Natalio
whether of this sort Rodriguez,"
or 1952), in The
of 45-51. Puppet
the gentlerMaster, iv,
No. 3 (October
directed at child11Although
audiences,
hand and string is the
puppets gr
have been
the principal types used in Spain, as elsewhere in
where the
puppetEurope,
stands most
shadow figures firmly.1
were not unknown.
Although Tozer, Vigues
Varey and a
found in the Barcelona few
Municipal Ar- o
ers continue to give performances
chives sheets of nineteenth-century shadowof
pup- h
pets and the accompanying plays. See his article
quality, the number
"Puppets in of showmen
Spain Today (Part I)," in The in
has steadily decreased since
Puppet Master, iii, No. 2 (Aprilthe adven
1950), p. 49.
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SPANISH PUPPETRY 209
STUDENT MEMBERSHIPS
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