Petrushka

Last updated • 11 min readFrom Wikipedia, The Free Encyclopedia

Petrushka (Russian:Петру́шка,IPA: [pʲɪtˈruʂkə] ⓘ ) is a stock character of Russian folk puppetry. It was first introduced by traveling Italian performers in the first third of the 19th century during a period of Westernization in Russian culture. While most core characters came from Italy, they were soon transformed by the addition of material from the Russian cultural context.' [1] Petrushkas are traditionally hand puppets. The character is a kind of a jester, a slapstick protagonist distinguished by his red dress, a red kolpak , and often a long nose.

Contents

Name

The name "Petrushka" originally and primarily refers to the specific stock character of the Russian carnival puppetry. However, like Guignol, due to the central role Petrushka played in the puppet theatre, it also has come to refer to the tradition more generally (sometimes referred to as balagan (балаган) after the carnival booths in which the plays were enacted), or even the general category of Russian hand puppets as a whole. [2] : 137 

Although the Russian word "petrushka" has a homonym meaning "parsley", in this context the word is actually a hypocoristic (diminutive) for "Pyotr" (Пётр), which is Peter in Russian. Despite this, the character has little or nothing in common with the commedia dell'arte stock characters of Petruccio or Pierrot (whose names are themselves diminutive forms of the Italian and French names for Peter), but is instead a Russian version of Punch or Pulcinella.

Though Petrushka's name still likely comes to the Russian puppet theatre through the commedia dell'arte, Petrushka's popularization following the Peter the Great's Westernization efforts have led many to speculate about the relationship nonetheless. [3]

Description

As stock character

Form

I.A. Zaitzev, Petrushka Hand-Puppet, late 19th-early 20th c. Petrushka Perchatochnaia-kukla.jpg
I.A. Zaitzev, Petrushka Hand-Puppet, late 19th-early 20th c.

While the Petrushka puppet has been attested as both a marionette and a hand puppet, in the vast majority of occurrences he takes the form of the latter. [4] : 51  He typically appears as a small figure with exaggerated features, taking aesthetic cues from the clown performers upon which such stock puppets are originally based, while also allowing the important aspects of his appearance to be seen from an audience despite his small size. His face, for instance, is the largest portion of the puppet, with a proportionally smaller torso and legs that dangle beneath the structural body of the glove puppet. Overall, the size of the puppet is determined by the limiting factor of the human hand, with the width delineated by the space between the thumb and pinky, which act as the puppet's arms, while the three proximal fingers serve as the puppet's torso supporting the head. The length has more variation but typically is fewer than 19 inches since the legs hang toward the proximal part of the forearm. [5] : 83 

The head of the Petrushka puppet was traditionally made with wood, such as birch, with papier-mâché applied to it so as to be lightweight and to make a sound when hit, such as was often the case in the slapstick comedy of carnival theatre. Petrushka is most often represented wearing red clothing (typically a kaftan and kolpak) and carrying a club called a dubinka (дубинка). [4] : 62  His face is defined primarily by his long nose and pointed red hat, with static features that do not have any articulation points. Instead, emotions are conveyed through movement, and the downward slope of the face is designed in such a way that expressions are made possible through the angle at which the puppet's face is viewed. [5] : 114 

Personality

Petrushka's personality typically follows that of Pulcinella. He was described by prominent Soviet puppeteer Nina Simonovich-Efimova as the "classical ne'er-do-well in the puppet family." [6] : 17  He is presented as mischievous, self-serving, gluttonous, aggressive, and cowardly. [7] : 62  He is usually at the center of conflict in the Petrushka carnival plays, often getting himself out of trouble by killing the other puppets on stage with a swing of his club.

Petrushka in the carnival theatre

Alexander Benois' depiction of a Russian Petrushka theatre, 1911. Petrushka - benois2.jpg
Alexander Benois' depiction of a Russian Petrushka theatre, 1911.

Petrushka plays were primarily performed in the setting of the carnivals held in cities such as Saint Petersburg, particularly during Shrovetide. At these carnivals surrounding Easter, booths were specially constructed and situated for commedia dell'arte performances, which were performed in wooden structures called balagany that held up to 1500 people in the audience. [8] : 18  This was significantly larger than the small huts that Petrushka performances began in at the beginning of their popularity in the mid 19th century, where their booths were situated at the periphery of the fairgrounds and held fewer than 200 patrons, which allowed audience members to see the small puppets in their booth. [9] : 47 

The plays themselves were often referred to as Kamed' o Petrushke or Comedy of Petrushka, though there was not a single play to which they were referring. Rather, the Comedy was collectively referring to the different characters and scenes arranged in various ways for various audiences, including regional differences. These variants ranged from a simple monologue performed by the hero Petrushka to a full ensemble cast. In each of these cases, Petrushka was at the center of the action, rarely leaving the stage, and only matched in stage time by the character of the Musician--a human respondent (Cyrillic: Russian: ответчик, otvetchik) who served as a counterpart to the hero. [9] : 62 

In addition to the Musician, who often played a hurdy-gurdy throughout the performance, other characters included Petrushka's fiance or wife, a horse-trader, a German, a doctor, a corporal, the policeman, the Devil, and Barbos, a large dog, who would drag Petrushka off the stage to end the play. [10] Much of what we know about the Petrushka comedies comes from the folklorist Anna Fyodorovna Nekrylova, who analyzed the collected text of about forty Petrushka plays from the late nineteenth and early twentieth centuries. Nekrylova described twenty-three distinct scenes that make up the building blocks of a Petrushka comedy, which could then be combined (or omitted) as desired to fit the context of the performance. These variants include a scene in which Petrushka declares his intent to find a wife, Petrushka purchasing a horse, Petrushka with his fiancee, several variations of a scene with the doctor character treating Petrushka for medical injuries, a confrontation with a policeman, Petrushka meeting with a soldier, and several variations of Petrushka being dragged off stage by either the Devil or Barbos. [11]

The puppeteer for the show did the voices for all the characters present in the show. However, the voice of Petrushka was distinct from the other characters on stage through use of a swazzle (Russian: пищик, pishchik). The dialogue was based on a momentary change of the swazzle and the "live" voice of other characters.

History

19th century

Andrei Popov, Balagany in Tula during Holy Week, 1873. Popov Balagany-v-Tule 1873.jpg
Andrei Popov, Balagany in Tuladuring Holy Week, 1873.

Pietro-Mira Pedrillo of Italy, the court jester of the Empress Anna Ioannovna, allegedly served as a prototype for Petrushka.[ citation needed ]

The popularity of Petrushka comedies in particular largely began in the mid-nineteenth century, with the century from 1830–1930 being the height of its popularity. The origins of the Petrushka puppet in Russia are debated, with some claiming that there were origins of the tradition pre-dating the arrival of the commedia dell'arte with traveling Italian puppeteers after the period of Tsar Peter I's rule. While there was undoubtedly some form of puppet culture in traditional Russia, the influence of the commedia dell'arte on puppet theatre in Russia is undeniable. Originating as actors in clown makeup before gradually moving toward puppetry, Russian artists began to take over from the Russian-speaking Italian performers who had been running the scenes before. [12] : 48–49 

Entry to the puppet booths was cheaper than to the larger, primary attractions at the late 19th-century Russian carnival, with standard entry as low as a grivennik (10 kopecks), or even lower, depending on the development of the area. During the 1840s and especially after the emancipation of the serfs in 1961, industrialization in the cities brought more attention to the fairs. This was likely how Petrushka puppetry became a provincial form of entertainment, often frequented primarily by the urban lower class. At the same time, the Russian intelligentsia were more interested in the puppet theatres of Western Europe. [12]

It was during this period that a young Fyodor Dostoevsky frequented puppet shows with his brother, attesting in his writings for the relationship between Petrushka and Pulcinella. In his diaries and in "Gospodin Prokharchin ," he writes of Petrushka as a counterpart to "Pul'chinel," a companion who would take the stage as sidekick to the puppet whose antics would become his own. As others who came before and after him, Dostoevsky saw the Petrushka theatre as an exploration of Russian cultural identity. [13] By the 1880s, Petrushka was the hero of these comedies, the sole constant among the moving parts of other characters and scenes. His popularity grew to the point of anachronistic texts from later periods retroactively referring to puppet shows of previous centuries petrushka. This also accounts for the frequent mixing of surnames, such as when Nina Simonovich-Efimova refers to the Russian puppet as "Petroushka Guignol Pickelherring Punch," describing him as a puppet who fell in with a bad crowd (i.e. a joke about the influence of the French, English, and Italian puppets on Russian puppetry). [14]

With the popularization of the genre, the target demographic began to shift. Though children were never excluded from the booths at the fairgrounds, they were not the primary audience. Rather, Petrushka--and carnival affairs more generally--were most popular among young, single men. Starting in the 1870s, Petrushka puppets began to be bought and sold at the carnival grounds, along with Russian chapbooks (Russian: лубки, lubki) providing instructions on how to enact them. [15] With this shift, though the carnival remained the primary venue for Petrushka, puppet theatre became increasingly associated with children's entertainment.

The Efimov Theatre in Moscow, 1919. The Efimovs were responsible for popularizing the standalone puppet theatre tradition in the 20th century. Efimov Theatre Moscow 1919.jpg
The Efimov Theatre in Moscow, 1919. The Efimovs were responsible for popularizing the standalone puppet theatre tradition in the 20th century.

20th century

The early twentieth century saw both the growth and shift of Petrushka's popularity before its decline. In particular, the years leading up to and immediately surrounding the Russian revolution saw the growth of puppet theaters as year-round standalone cultural institutions outside of the Shrovetide carnival context, likely in response to growing revolutionary sentiments and an attempt by artists and audiences to connect with cultural roots. [16]

In 1916, the influential theater critic and puppeteer Yulia Slonimskaia Sazonova opened her puppet theatre in Saint Petersburg. That same year in Moscow, Nina Simonovich-Efimova performed her first public Petrushka plays in Moscow before opening her own theatre with her husband sculptor and artist Ivan Efimov. [17] The Efimovs were highly influential in the world of puppetry, including training Sergei Obraztsv who himself eventually became the President of the International Union of Puppeteers as well as named the Head of the Sergei Obraztsov State Academic Central Puppet Theatre by the Soviet government in 1931. Simonovich-Efimova published the most extensive description of practical puppet knowledge about Petrushka glove puppets in her theory "O Petrushke" ("About Petrushka") in 1919, along with books, pamphlets and guides for aspiring Petrushka puppeteers.

Tombstone of Vaslav Nijinsky in Montmartre Cemetery in Paris. The statue, donated by Serge Lifar, shows Nijinsky as the puppet Petrushka. Vaslav Nijinsky tombstone.jpg
Tombstone of Vaslav Nijinsky in Montmartre Cemetery in Paris. The statue, donated by Serge Lifar, shows Nijinsky as the puppet Petrushka.

Meanwhile, while the practical art of puppetry was thriving under the Efimovs' influence, the image of Petrushka was outgrowing the puppet theatre in other ways. In 1911, the composer Igor Stravinsky wrote a ballet called Petrushka, in which the eponymous hero challenges the love interest of a ballerina he wants to marry. The plot of the ballet relies on knowledge of the Petrushka tradition, as the puppets are brought to life during Maslenitsa in 1830 Saint Petersburg, and plays with cultural expectations of the standard structure of a Petrushka comedy. Vaslav Nijinsky was the first to star on the stage as Petrushka.

At the same time, Petrushka was being used by Russian Symbolists in poetry, stage plays, and novels. The Symbolists were less interested in the puppet theatre than in what the symbol of the puppet represented between past and future. Drawing on the idea that the puppet superseded the human comedic actor, they used the image to comment on how the position of humanity between a mythic past and a tenuous future and the decline of society and the arts in Russia. Andrei Bely's 1913 novel Petersburg about the failed revolution of 1905, for instance, features a scene wherein the protagonist, Nikolai Apollonovich goes from a masked Harlequin of the commedia dell'arte to seeing himself in the mirror as the image of Petrushka amidst the threat of failure in his revolutionary activity.

The War of Petrushka and Struwwelpeter, 1925. 1925. Voina Petrushki i Stiopki Rastriopki 01.jpg
The War of Petrushka and Struwwelpeter , 1925.

During the early Soviet years, the puppet theatre again was transformed. Fairgrounds, the traditional home of the Petrushka theatre, were replaced with Parks of Culture in Rest throughout the late 1920s and 30s. Despite this, Petrushka continued. In the 1920s and 1930s, Petrushka increasingly became the subject of the children's literature. [18] [19] As puppet theatre gradually became a predominantly children's entertainment, Petrushka became less vulgar and aggressive, moving away from his slapstick roots.

Starting in the 1920s, troupes traveled from city to city doing Petrushka editions of the agitprop theatre in which Petrushka appeared defending poor peasants and attacking kulaks. [20] Such groups directing Petrushka's last stand included the Red Petrushka Collective in 1927 and the Red Army Petrushka Group in 1928. However, by the late 1930s, this version of Petrushka, too, declined. Sergei Obraztsov claimed that Petrushka failed because before the revolution, Petrushka, who beat people with his club and enacted his own justice, was commenting on wrongs in the world that simply did not exist after the war. [21] The lack of meaningful social commentary in Red Petrushka resulted in conflicts that seemed arbitrary and missing their carnivalesque sense of a world turned upside down.

Contemporary

The Russian Children's Welfare Society (RCWS) hosts an annual "Petroushka Ball", which is named after a version of the Petrushka character who fell in love with a graceful ballerina. [22]

See also

Related Research Articles

<span class="mw-page-title-main">Punch and Judy</span> Traditional British puppet show

Punch and Judy is a traditional puppet show featuring Mr. Punch and his wife Judy. The performance consists of a sequence of short scenes, each depicting an interaction between two characters, most typically the anarchic Mr. Punch and one other character who usually falls victim to the intentional violence of Punch's slapstick. First appearing in England in 1662, The Daily Telegraph called Punch and Judy "a staple of the British seaside scene". The various episodes of Punch comedy—often provoking shocked laughter—are dominated by the clowning of Mr. Punch.

<span class="mw-page-title-main">Harlequin</span> Zanni (comic servant) character in commedia dellarte

Harlequin is the best-known of the comic servant characters (Zanni) from the Italian commedia dell'arte, associated with the city of Bergamo. The role is traditionally believed to have been introduced by the Italian actor-manager Zan Ganassa in the late 16th century, was definitively popularized by the Italian actor Tristano Martinelli in Paris in 1584–1585, and became a stock character after Martinelli's death in 1630.

<span class="mw-page-title-main">Zanni</span> Class of satellite characters from commedia dellarte

Zanni, Zani or Zane is a character type of commedia dell'arte best known as an astute servant and a trickster. The Zanni comes from the countryside and is known to be a "dispossessed immigrant worker". Through time, the Zanni grew to be a popular figure who was first seen in commedia as early as the 14th century. The English word zany derives from this character. The longer the nose on the characters mask, the more foolish the character.

<span class="mw-page-title-main">Brighella</span> Character from de theatre style Commedia dellarte

Brighella is a comic, masked character from the Italian theatre style commedia dell'arte. His early costume consisted of loosely fitting, white smock and pants with green trim and was often equipped with a batocio or slapstick, or else with a wooden sword. Later, he took to wearing a sort of livery with a matching cape. He wore a greenish half-mask displaying a look of preternatural lust and greed. It is distinguished by a hook nose and thick lips, along with a thick twirled mustache to give him an offensive characteristic. He evolved out of the general Zanni, as evidenced by his costume, and came into his own around the start of the 16th century.

<span class="mw-page-title-main">Pierrot</span> Stock character of pantomime and commedia dellarte

Pierrot, a stock character of pantomime and commedia dell'arte, has his origins in the late 17th-century Italian troupe of players performing in Paris and known as the Comédie-Italienne. The name is a diminutive of Pierre (Peter), using the suffix -ot and derives from the Italian Pedrolino. His character in contemporary popular culture—in poetry, fiction, and the visual arts, as well as works for the stage, screen, and concert hall—is that of the sad clown, often pining for love of Columbine. Performing unmasked, with a whitened face, he wears a loose white blouse with large buttons and wide white pantaloons. Sometimes he appears with a frilled collaret and a hat, usually with a close-fitting crown and wide round brim and, more rarely, with a conical shape like a dunce's cap.

<span class="mw-page-title-main">Puppetry</span> Form of theatre or performance that involves the manipulation of puppets

Puppetry is a form of theatre or performance that involves the manipulation of puppets – inanimate objects, often resembling some type of human or animal figure, that are animated or manipulated by a human called a puppeteer. Such a performance is also known as a puppet production. The script for a puppet production is called a puppet play. Puppeteers use movements from hands and arms to control devices such as rods or strings to move the body, head, limbs, and in some cases the mouth and eyes of the puppet. The puppeteer sometimes speaks in the voice of the character of the puppet, while at other times they perform to a recorded soundtrack.

<span class="mw-page-title-main">Pulcinella</span> Commedia dellarte character

Pulcinella is a classical character that originated in commedia dell'arte of the 17th century and became a stock character in Neapolitan puppetry. Pulcinella's versatility in status and attitude has captivated audiences worldwide and kept the character popular in countless forms since his introduction to commedia dell'arte by Silvio Fiorillo in 1620.

The Atellan Farce, also known as the Oscan Games, were masked improvised farces in Ancient Rome. The Oscan athletic games were very popular, and usually preceded by longer pantomime plays. The origin of the Atellan Farce is uncertain, but the farces are similar to other forms of ancient theatre such as the South Italian Phlyakes, the plays of Plautus and Terence, and Roman mime. Most historians believe the name is derived from Atella, an Oscan town in Campania. The farces were written in Oscan and imported to Rome in 391 BC. In later Roman versions, only the ridiculous characters speak their lines in Oscan, while the others speak in Latin.

<i>Petrushka</i> (ballet) 1911 ballet by Igor Stravinsky

Petrushka is a ballet by Russian composer Igor Stravinsky. It was written for the 1911 Paris season of Sergei Diaghilev's Ballets Russes company; the original choreography was by Michel Fokine and stage designs and costumes by Alexandre Benois, who assisted Stravinsky with the libretto. The ballet premiered at the Théâtre du Châtelet on 13 June 1911 with Vaslav Nijinsky as Petrushka, Tamara Karsavina as the lead ballerina, Alexander Orlov as the Moor, and Enrico Cecchetti the charlatan.

<span class="mw-page-title-main">Shadow play</span> Ancient form of storytelling

Shadow play, also known as shadow puppetry, is an ancient form of storytelling and entertainment which uses flat articulated cut-out figures which are held between a source of light and a translucent screen or scrim. The cut-out shapes of the puppets sometimes include translucent color or other types of detailing. Various effects can be achieved by moving both the puppets and the light source. A skilled puppeteer can make the figures appear to walk, dance, fight, nod and laugh.

<span class="mw-page-title-main">Adult puppeteering</span>

Adult puppeteering is the use of puppets in contexts aimed at adult audiences. Serious theatrical pieces can use puppets, either for aesthetic reasons, or to achieve special effects that would otherwise be impossible with human actors. In parts of the world where puppet shows have traditionally been children's entertainment, many find the notion of puppets in decidedly adult situations—for example, involving drugs, sex, profanity, or violence—to be humorous, because of the bizarre contrast it creates between subject matter and characters.

<span class="mw-page-title-main">Kasperle</span> Puppet character

Kasperle, Kasper, or Kasperl is a famous and traditional puppet character from Austria, German-speaking Switzerland, and Germany. Its roots date to 17th century, and it was at times so popular that Kasperltheater was synonymous with puppet theater. Kasperltheater includes various sets of puppets. In some German settings the following characters occur: Kasper, Gretel, Seppel, Grandmother, princess, king, witch, robber, and crocodile. In Austria, Kasperl usually occurs alongside Pezi, Buffi or Mimi, and usually Großmutter and Großvater. The older, more traditional Kasperle shows are very similar to "Mister Punch". There are also "Kasperle versions" of the Grimm and other fairy tales and of "modern fairy tales".

Max Jacob was a German puppeteer and the developer of the Hohnsteiner Kasper Theatre in the 1920s.

<span class="mw-page-title-main">Puppet</span> Inanimate object or representational figure animated or manipulated by an entertainer

A puppet is an object, often resembling a human, animal or mythical figure, that is animated or manipulated by a person called a puppeteer. Puppetry is an ancient form of theatre which dates back to the 5th century BC in ancient Greece.

<span class="mw-page-title-main">Commedia dell'arte</span> Form of theatre originating in Italy

Commedia dell'arte was an early form of professional theatre, originating from Italian theatre, that was popular throughout Europe between the 16th and 18th centuries. It was formerly called Italian comedy in English and is also known as commedia alla maschera, commedia improvviso, and commedia dell'arte all'improvviso. Characterized by masked "types", commedia was responsible for the rise of actresses such as Isabella Andreini and improvised performances based on sketches or scenarios. A commedia, such as The Tooth Puller, is both scripted and improvised. Characters' entrances and exits are scripted. A special characteristic of commedia is the lazzo, a joke or "something foolish or witty", usually well known to the performers and to some extent a scripted routine. Another characteristic of commedia is pantomime, which is mostly used by the character Arlecchino, now better known as Harlequin.

<span class="mw-page-title-main">Mamulengo</span>

Mamulengo is a type of puppet performance popular in North East Brazil, especially in the state of Pernambuco. The origin of the name is unclear, but it is believed that it originated with the Portuguese phrase mão molenga, meaning "soft hand", ideal for giving lively movements to a puppet.

<span class="mw-page-title-main">Randal J. Metz</span>

Randal John Metz is a professional puppeteer and variety/stage performer. He is known for creating puppet productions, and puppet performer for Children’s Fairyland’s Open Storybook Puppet Theater in Oakland, California, the oldest continuously operating puppet theater in the United States. He currently produces seven different puppet shows a year for the theater, and tours his shows throughout California under the name The Puppet Company. He has served several terms as President and Vice-President of the San Francisco Bay Area Puppeteers Guild.

<span class="mw-page-title-main">Nina Simonovich-Efimova</span> Russian artist and puppeteer

Nina Yakovlevna Simonovich-Efimova was a Russian artist, puppet designer and one of the first professional Russian puppeteers. Together with her husband Ivan Efimov she founded the tradition of Soviet puppet theater, acting as the driving force behind the Efimovs' presentations.

<span class="mw-page-title-main">Ivan Efimov</span> Russian sculptor

Ivan Efimov was a Russian sculptor. He was one of the members of the art association ‘The Four Arts’, which existed in Moscow and Leningrad in 1924-1931. Along with his wife, Nina Simonovich-Efimova, the couple founded the tradition of Soviet puppet theater. Since 1958 he has been an Honorary member of UNIMA. In addition to puppet design, Efimov was noted for his book illustration and sculpture. He created pieces for the Central Museum of Ethnology, the North River Terminal, several metro and railway stations and the Grand Kremlin Palace. Internationally his sculptures were awarded gold medals in 1937 at the Paris World Exhibition and a silver medal at the World Exhibition in Brussels, and in Russia he was honored as both an Artist of the Russian Soviet Federative Socialist Republic (RSFSR) and the People’s Artist of the RSFSR.

<span class="mw-page-title-main">Russian puppet theater</span>

Russian puppet theater appears to have originated either in migrations from the Byzantine Empire in the sixth century or possibly by Mongols travelling from China. Itinerant Slavic minstrels were presenting puppet shows in western Russia by the thirteenth century, arriving in Moscow in the mid-sixteenth century. Although Russian traditions were increasingly influenced by puppeteers from western Europe in the eighteenth century, Petrushka continued to be one of the principal figures. In addition to glove puppets and marionettes, rod puppets and flat puppets were introduced for a time but disappeared in the late nineteenth century.

References

  1. ↑ Catriona Kelly, "From Pulcinella to Petrushka: The History of the Russian Glove Puppet Theatre." Oxford Slavonic Papers 21 (1988): 41–63.
  2. ↑ Posner, Dassia (2014). "Life-death and disobedient obedience: Russian modernist redefinitions of the puppet". The Routledge companion to puppetry and material performance. Dassia N. Posner, Claudia Orenstein, John Bell. London: Taylor & Francis. pp. 130–143. ISBN   978-0-415-70540-0. OCLC   868199756.
  3. ↑ Clayton, J. Douglas (1993). Pierrot in Petrograd: the Commedia dell'arte/Balagan in twentieth-century Russian theatre and drama. Montréal: McGill-Queen's University Press. ISBN   978-0-7735-6441-1. OCLC   227038219.
  4. 1 2 Kelly, Catriona (1990). Petrushka: the Russian carnival puppet theatre. Cambridge: Cambridge University Press. ISBN   0-521-37520-7. OCLC   20133895.
  5. 1 2 Simonovich-Efimova, Nina (1935). Adventures of a Russian puppet theatre: including its discoveries in making and performing with hand-puppets, rod-puppets and shadow-figures, now disclosed for all. Translated by Mitcoff, Elena. Birmingham, Mich.: Puppetry Imprints.
  6. ↑ Simonovich-Efimova, Nina (1935). Adventures of a Russian puppet theatre: including its discoveries in making and performing with hand-puppets, rod-puppets and shadow-figures, now disclosed for all. Translated by Mitcoff, Elena. Birmingham, Mich.: Puppetry Imprints.
  7. ↑ Kelly, Catriona (1990). Petrushka: the Russian carnival puppet theatre. Cambridge: Cambridge University Press. ISBN   0-521-37520-7. OCLC   20133895.
  8. ↑ Petrushka : sources and contexts. Andrew Wachtel. Evanston, Ill.: Northwestern University Press. 1998. ISBN   0-8101-1566-2. OCLC   38270868.{{cite book}}: CS1 maint: others (link)
  9. 1 2 Kelly, Catriona (1990). Petrushka : the Russian carnival puppet theatre. Cambridge: Cambridge University Press. ISBN   0-521-37520-7. OCLC   20133895.
  10. ↑ Beumers, Birgit (2005). Pop culture Russia! : media, arts, and lifestyle. Santa Barbara, Calif.: ABC-CLIO. pp. 160–161. ISBN   978-1-84972-387-9. OCLC   299474319.
  11. ↑ Nekrylova, Anna Fodorovna (1988). Russkyie narodnye gorodskiye prazdniki, uveseleniya i zrelishcha. Leningrad.{{cite book}}: CS1 maint: location missing publisher (link)
  12. 1 2 Kelly, Catriona (1990). Petrushka : the Russian carnival puppet theatre. Cambridge: Cambridge University Press. ISBN   0-521-37520-7. OCLC   20133895.
  13. ↑ Mikhnovets, Nadezhda G. (2022). "Contextual Analysis of F. M. Dostoevsky's Draft Sketch "On the Petrushka Folk Theatre": the Theme of the Russian People and the Problem of Their Unity". Университетский научный журнал (68): 49–58. doi:10.25807/22225064_2022_68_49. ISSN   2222-5064. S2CID   249449791.
  14. ↑ Simonovich-Efimova, Nina (1935). Adventures of a Russian puppet theatre: including its discoveries in making and performing with hand-puppets, rod-puppets and shadow-figures, now disclosed for all. Translated by Mitcoff, Elena. Birmingham, Mich.: Puppetry Imprints.
  15. ↑ Clayton, J. Douglas (1993). Pierrot in Petrograd : the Commedia dell'arte/Balagan in twentieth-century Russian theatre and drama. Montréal: McGill-Queen's University Press. ISBN   978-0-7735-6441-1. OCLC   227038219.
  16. ↑ Clayton, J. Douglas (1993). Pierrot in Petrograd: the Commedia dell'arte/Balagan in twentieth-century Russian theatre and drama. Montréal: McGill-Queen's University Press. ISBN   978-0-7735-6441-1. OCLC   227038219.
  17. ↑ Posner, Dassia (2014). "Life-death and disobedient obedience: Russian modernist redefinitions of the puppet". The Routledge companion to puppetry and material performance. Dassia N. Posner, Claudia Orenstein, John Bell. London: Taylor & Francis. pp. 130–143. ISBN   978-0-415-70540-0. OCLC   868199756.
  18. ↑ Fomin, Dmitry V. (2021-10-11). "The Image of Petrushka in Russian Children's Books of the 1920s — Early 1930s". Observatory of Culture. 18 (4): 424–435. doi:10.25281/2072-3156-2021-18-4-424-435. ISSN   2588-0047. S2CID   241069165.
  19. ↑ Barker, Meghanne (2021). "From Stage to Page and Back Again: Remediating Petrushka in Early Soviet Children's Culture". The Russian Review. 80 (3): 375–401. doi:10.1111/russ.12318. ISSN   0036-0341. S2CID   236234560.
  20. ↑ Pipes, Richard (1993). Russia under the Bolshevik regime (1st ed.). New York: A.A. Knopf. p. 305. ISBN   0-394-50242-6. OCLC   27066444.
  21. ↑ Kelly, Catriona (1990). Petrushka : the Russian carnival puppet theatre. Cambridge: Cambridge University Press. ISBN   0-521-37520-7. OCLC   20133895.
  22. ↑ "RCWS.org | The Petroushka Ball". Jun 8, 2008. Archived from the original on 2008-06-08.
This page is based on this Wikipedia article
Text is available under the CC BY-SA 4.0 license; additional terms may apply.
Images, videos and audio are available under their respective licenses.