Polichinelle stole a wizard's picnic and beat him up. The wizard made a giant hand appear. Chased by the hand, Polichinelle runned into an old woman's house. To get him out, the Hand trapped him with a smelly pâté. Feigning repentance, Polichinelle asked the wizard to free him from the Hand, then killed him and tried to control the Hand. But it threatened him with a pitchfork and carried him away like the Devil would do.

Glove-puppet

Bare hand

All audiences

France

Paris

Duranty Louis Émile Edmond

Printed

Hand

The Devil's Hand

Hunger

Thirst

Wine

Theft

Sorcery

Pâté

Cunning

False repentance

Comical

Farcical

Fantastic

French

Polichinelle

Magician

Old woman

Part of human body

Devil

Monologue

Song

Aside

Blow-with-a-stick

Chase

Magical formula

Hands visible

Plot twist

Address to the public

Thumbing one's nose

Slaps

Punching

Off-stage voice

Final intervention of the devil

La Grand'Main

The Big Hand

After a long silent prologue evoking the creation of the world and then the fertilisation of an ovum by a “ballet of spermatozoids”, the Poète (Poet) brings into focus the birth of two characters – Homme (Man) and then Femme (Woman). They both feel the “tragic desire to be made complete”. They make love and are thus made whole. But disease, infidelity, weapons and secrets appear with the birth of the city. Homme and Femme forget one another. A new concrete city takes over the old one, and no space is left for emotions. Homme finds himself in a crowd led by money, proprietorship and the market. Why waste your life for machines, Homme asks? Why give birth to children in a world that is filled with pain, Femme asks as an echo? Determined “not to accept the unacceptable”, “not to allow to not live” and to “organise the dream”, they meet again before fading into the growing darkness.

Rod puppet

Adults

Metz

Love

Sexuality

Labour

Daily life

Industry

Pollution

Madness

Lyrical

Philosophical tale

Erotic

Gabriel Cousin, Oratorio pour une vie, L'Avant-scène théâtre, n° 702, 1982 (cover page)

Poet

Love duet

Scene of copulation

Inserting poetry

Avista

Chorus

Oratorio pour une vie

Oratorio for a life

Mademoiselle (Miss) Félicité, a foreign doctoral student, pays a visit to Morched – a master puppeteer – to buy his puppets. Her request is categorically denied because, in Morched’s eyes, puppetry is ancestral work. However, after the 1979 Islamic Revolution, the authorities censored traditional Iranian culture and Morched is forbidden from practicing his trade. In spite of this prohibition, he decides to use his puppets one last time to tell the love story between Pahlévâne and Sarvé-Nâz Khânome, which will soon be made impossible because of the Mullahs, who support their friend Mobârak (“a mischievous servant”). Unable to destroy his puppets, Morched – just before he dies – decides to entrust them to Mademoiselle Félicité, who will be able to keep the memory of his work alive.

Actor and puppet

Not specified

Puppeteer

Puppets

Student

Power

Transmission

Religion

Current events

Bans

Political context

Death

Epic

Dramatic

Frédéric de Manassein, cover art for Mémoires d'une marionnette.