Evening star. [volume] (Washington, D.C.) 1854-1972, 1930-11-09
HULA MAR|ONETTES
PLACED IN MUSEUM
Groups of CeyIonese, SIAM
csc and Javanese Models
win Be Added to Exhibit.


Lost cultures. vanished tribes. buried
temples and hidden tombs Of long dead
races of people are subjects which
naturally remind one of the science of
archaeology, yet this department Of the
National Museum has just installed an
exhibit Of real live people in the form
of q company Of hula marionette
actors.
Marionettes, OF course, do not talk,
dance and do their tricks of their own
accord, but with the assistance OF Q
stage manager, these quaint beings ap-
pear very much alive-so much so. In
fact. that they sometimes take q part
on the stage with real performers.
Rapidly Resaining Popularity.
Marionettes, moreover, are alive In
he sense that the revival OF the marion
cite show in America is rapidly regain
ing its European popularity OF cen
fury ago. 1t was at that time when
showmen with marionettes Of the type
of Mr.. Punch and Mrs. Judy walked
the streets Of London, mingiing their
city; when the calls Of the chimney
sweeps, the milk vendors. the news
criers, the tinker and the bellows mend
er made q deafening accompaniment to
Punch's well known root-to-to-to-too-it.
Not only did the money from the pie
mans pocket and the broom sellers
bag find its way to the cup Of the
Punch and judy show, but also fash
ionable people-men In brave slashed
doublets and trunk hose, women In
hooded coats over rich silks and satins,
gallants strutting In full skirted coats
with jaunty three-cornered hats above
their periwigS--were in Punch's audi
ence.
Puppet Playing Revived.
Referring to the revival of the marion
cite show In America, the museum head
curator Of this department, DR.. Walter
Hough, recalled that showmen are
turing TO marionettes as q profess.o~-
writing and producing their own pu. W-t
plays, aiming to make them vital. living
and amusing as we'll IS educational and
cultural for children.
Public schools, community centers,
clubs and other educational organiza-
items are favcring this ancient form of
entertainment by adapting old tales
from many lands to this type Of drama.
Rag doll puppets usually serve the pur-
pose for small children, but for adj
vanced students more lifelike puppets
have been evolved. The body, legs,
arms and feet Of certain of these dolls
are whitfield from pieces OF wood and
fastened together with strips Of white
cambria. The fingers are made Of thin
pieces Of wire bent into shape and
wrapped with adhesive tape, while a
lump Of clay or . wad Of cotton covered
with q piece Of white stocking makes
the head. On the face Is painted or
charcoaled eyes, nose, mouth, checks
GnIn
According TO Tony Sarg, the well
known author and director Of MARION
cite drama, puppet plays fan, into
three classes. A very old type consists
Of Q head and empty dress slipped
upon the hand of the performer who
animates the puppet with his thumb
and two fingers after the fashion of
the Punch and Judy show. Dolls OPP
Grated from below, by means Of rods
or the legs Of the figures themselves
represent another type, while the third
and true marionette Is q puppet OPP
Grated from above BY means Of strings
or wires.
Hula DeIls Hand Operated.
The hula dolls on exhibition are
hand operated, placing them I'M group
one Of this classification. Here the
hand of the performer, who stands
behind screen, Is slipped under the
robe Of the maricnette IN such Z man
ner as to iTnpart the movements called
for by the action OF the play. These
dolls representing the figures Of men
are about one-third life size. The head
is carved out Of . soft piece Of wood
which Is covered with dark woven
fabric much like broacloth. It is en-
circled at the level Of the forehead
with q broad band Of gilt braid as Il
10 4txM ~
there are also groups Of CeyIonese
Siamese and Javanese marionettes IN
the museum collection which win BE-
exhibited when space Is available. The
most interesting of these perhaps ID q