A Dictionary of Music and Musicians/Marionette-Theatre

by Carl Ferdinand Pohl

MARIONETTE-THEATRE, a small stage on which puppets, moved by wires and strings, act operas, plays, and ballets, the songs or dialogue being sung or spoken behind the scenes. The repertoires included both serious and comic pieces, but mock-heroic and satiric dramas were the most effective. Puppet-plays^[1], in England and Italy called 'fantoccini,' once popular with all classes, go back as far as the 15th century. From that period to the end of the 17th century Punch was so popular as to inspire Addison with a Latin poem, 'Machinæ gesticulantes.' In 1713 a certain Powell erected a Punch theatre under the arcade of Covent Garden, where pieces founded on nursery rhymes, such as the 'Babes in the Wood,' 'Robin Hood,' and 'Mother Goose,' were performed; later on they even reached Shakspere and opera. About the same period Marionette-theatres were erected in the open spaces at Vienna, and these have reappeared from time to time ever since^[2]. Prince Esterhazy, at his summer residence, Esterház, had a fantastically decorated grotto for his puppet-plays, with a staff of skilled machinists, scene-painters, playwrights, and above all a composer, his Capellmeister Haydn, whose love of humour found ample scope in these performances. His opera 'Philemon und Baucis' so delighted the Empress Maria Teresa, that by her desire Prince Esterhazy had the whole apparatus sent to Vienna for the amusement of the Court. In London, fantoccini were playing between the years 1770 and 80 at Hickford's large Rooms in Panton Street, Haymarket, Marylebone Gardens, and in Piccadilly. In Nov. 1791 Haydn was present at one of these performances^[3] in the elegant little theatre called Varietés Amusantes, belonging to Lord Barrymore, in Savile Row. He was much interested, and wrote in his diary, 'The puppets were well-managed, the singers bad, but the orchestra tolerably good.' The playbill may be quoted as a specimen.

FANTOCCINI Dancing and music.
Overture, Haydn. A comedy in one act, 'Arlequin valet.' Overture, Piccini. The favourite opera (5th time) 'La buona Figliuola,' the music by Piccini, Giordani and Sarti.	Spanish Fandango. Concertante, Pleyel. A comedy in one act, 'Les Petits Riens,' the music by Saccnini and Paisiello. To conclude with a Pas de deux a-la-mode de Vestris and Hillisberg.
Leader of the band: Mr. Mountain. First hautboy: Sgr. Patria. To begin at 8; the doors open at 7 o'clock. The theatre is well aired and illuminated with wax. Refreshments to be had at the Rooms of the theatre. Boxes 5/. Pit 3/.

A critic in 'The Gazetteer' says:—'So well did the motion of the puppets agree with the voice and tone of the prompters, that, after the eye had been accustomed to them for a few minutes, it was difficult to remember that they were puppets.'

Fantoccini are by no means to be despised even in these days. They give opportunity for 'many a true word to be spoken in jest'; they show up the bad habits of actors, and form a mirror in which adults may see a picture of life none the less true for a little distortion.

[ C. F. P. ]

1. See Strutt's 'Sports and Pastimes of the People of England,' London, 1830.
2. In 1877 Raupach's 'Müller und sein Kind,' and the 'Ring des Nibelungen' were performed there and elsewhere by puppets.
3. See Pohl's 'Haydn in London,' p. 102.