New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1914-09-13
MARIONETTE PLAYS
War Brings German Marion
atta Producers TO This Country

" - S@~~o
cite Producers TO This Country
More and more the American stage is
bsnsating by the inhux Of European
talent as result Of the CREST Con-
tsnental war. The latest European
artists 20 lsaVo their native heath are
the marionette producers Of Musieh
and Dresden. OF late years The
marionstts theatres have been brought
70 . high pitch Of accomplishment in
cermany. These artists have taken the
puppet theatres seriously and have
riven their best talent 70 designsnR
stage iRures, scenery and cOstumes.
The Kunsler @ariOnettsn 81 Dreaaen
and Baden.Badsn under the direction
Of Tvo Puhonny are among the latest
IN these new expansions Of enc Of The
Oldest theatrical forms. As Schichtlh
Marionsttes, they have left their ma
tive theatres and tomorrow viii make
their American debut at the Palace
Theatre
The repertory Of the MariOnette The
atre includes operettas By Gluek and
Mozart, Middle Ages folk plays by Hsns
Sachs, fantastic pieces IN verse WE
ten especially for them; gay ifsSls
fBrces in everyday dress, tragedies ~
MAeteriinck and scenes even tLo aa
Goethe's 'Faust.D There are also SOLO
raarionettes like the singing marionettel
~ fhn kE6lCnfI
company. Il has a great reputation IN
more than one German city, and while
unfortunately, il does not sing with
the voice Of the great tenor, It Is IN
asneek. gestures and tricks of manner
impishiV satirical Of him. The mar
iopette play shown at the Palace often
requires six or seven different hgures.
In Goethe's "Poster Brey," for example
there must be a parsOn, a SOLDIER Q
servant, q middle aged woman and Two
Old fellows. Gluck's operetta OF ne
Cadi" has more Oriental figures OF Dotn
Mseterlinck's Death Of Tintagiles'
must be cast as carefully marlonette-
wise as it would be in theatre. amer
leans who have seen the Older. Maroon
cites will marvel at the vast improve
ynent which the master artists OF Ger
terpreters of dramatic emotion. Vhey
appear in a perfect little theatre in min
istrre. whose stage does not proJecI
into the house, and is simply httle
rectangular opening in one wall
through which the spectator looks upon
The puppets and the settings as INTO .
picture and even through a glass. Fol-
Iris little stage set in upon the Pslace
stsOe the artists have designed mlnla-
tnre scenery scaled to the proportions
of marionettes and yet as Elusive ana
atmospheric as the settings OF regu-
lar theatre. e.5 Too
Both the work of Ernst Stern ana ivo
Puhonny is represented IN osn iI. :
rpinted and executed so as to suggest
fbe character and also the emotions
which will be uppermost IN the play
Tbns thew can be made to traverse 8
sequence Of emotions By the sklileo
band upon the strings, when the de-
signer has been skilful, too. The races
ynder discreet manipulation Suggest
surprising number Of emotions
Take. for example, a scene from
che aDeath of Tintagiles." Not only
,,rst the speaking mariOnettes. as VI
u,ers make the appropriate GESTURES
nd movements and show 81 .nlhcant
changes Of feature, put the tisIen ~
marionettes must similarly reflect the
imnression that his sayings are max
ing upon them. Or IN one scene ol
Cluck's operetta, four, tiye and SIX MAJ ma
icnettes are romplng hiiariousi,Y' o sDous
fse,i,,c that the manipulation Of the
Tsrio5este sho,. J reveal. The spec
tsfor in actual experience with the
'eDeath of Tintagiles," which is one o.
the Schichtl masterpieces, soon n1ds 5
himself listening absorbed to the play
and making his own pictures OF per-
sonages and incidents.