Arlequin disembarks on an unknown land after a long boat journey. He puts on a coat made of animal skin as a precaution and with the hope of fooling animals. A wild cat sees him and walks towards him. Arlequin imitates his language and behaviour, going as far as climbing a tree. Meanwhile, Asdrubal and Pied-de-Biche (Crowbar) are hunting the wild cat to bring his head to the court. They look up and see two silhouettes perched in the tree. When Arlequin talks to them, they think that he is a talking animal. Intrigued, they watch him get down from the tree. Arlequin reveals his true identity and catches the hunter’s attention with the cheerful tale of his adventures. Asdrubal and Pied-de-Biche are charmed by his wit and decide to make him king, for it is very rare to find a man in the kingdom of the Ogres. Starving, Arlequin demands a meal. The whole court starts thinking about what dinner to make for him and where to find human flesh. Arlequin finds out that he is supposed to eat human meat and orders Pierrot to fetch a pot and a bean. However, the Ogres bring a pot with the intention of cooking their new king–Arlequin–in it. Two Parisians, Scaramouche and Tape-Dur, arrive at this moment: they recognise Arlequin and save him. Scaramouche declares that he and the king “will subscribe the Ogres to the thirty-two sous restaurants of the Palais-Royal” so that they definitely renounce human flesh.

Young audiences

des Essarts Emmanuel

France

Paris

Printed

Kingdoms

Savage

King

Meals

Cannibalism

Restaurant

Return

Comical

Fantasy

Alfred des Essarts, illustration for Le Naufrage d'Arlequin

French

Arlecchino

Chambellan

Hunter

Pierrot

Cook

Kitchen boy

Young woman

Ogre

Ogress

Aside

Disguised character (false identity)

Chorus

Off-stage noise

Stabbing

Le Naufrage d’Arlequin

Arlequin in a shipwreck

The play opens with a “Prologo in cielo” (prologue in the sky) during which the Teatro Vagante (an itinerant theatre) is brought down from the fly towers to the stage: the Teatro Vagante is at once a cave, a house, a cradle, a cart and a theatre. The actors have seen the theatre of the gods, which they have to try recreating now because “a mystery must be revealed”. The mystery is about a country where people are insatiable and keep wanting to eat fresh meat, even though resources are scarce. There are no cattle, an epidemic has broken out in the countryside and rubbish produced by their residents is piling up in the suburbs. This jungle of metal is thought to be the home of spirits called “rottamat”, which people believe to be responsible for the disappearance of several villagers. Everyone praises the butcher for his excellent meat, but he turns out to be an evil character who commits murders to supply meat for his shop. Just like the devil, he takes on numerous shapes: he is simultaneously the Butcher, the Father, the crazy man Matteo and the Emperor. Every morning, the Mother and the Father (the Butcher himself) wait for the butcher’s shop to open so they can buy the best meat, even when their son is in a hospital after having been attacked by the Father. The Mother flirts with the Butcher – who embodies her erotic ideal – until she becomes his victim. Nobody suspects the Butcher. Or maybe everybody keeps quiet so they can keep enjoying his excellent meat? The killings go on until all the villagers have eaten one another. Ultimately, only the Watchman understands that the Butcher is behind the murders, but even he is killed in the end. According to the actors of the Teatro Vagante, only hope remains: “even hell can be transformed – I hope”, one of the actors declares.

Glove-puppet

Shadow theatre

Not specified

Italy

Brescia

Consumer society

Meat

Pollution

Famine

Love

Death

Ecology

Evil

Tragic

Grotesque

Lyrical

Giuliano Scabia, Fantastica visione, stage direction by Alessandro Marinuzzi, 1993.

Italian

sopra il taglio e la vendita di carne con cenni alla questione degli attori, dell'arte, del teatro e del mercato generale degli oggetti nel disarmonico presente

Actor

Butcher

Apprentice

Mother

Father

Student

Police officer

Fool

Smuggler

Puppet

Butterfly

Shadow

Voice

Emperor

Minister

Valet

Angel

Interlude

Prologue

Song

Metatheatre

Political allegory

Double characters

Hidden corpse

Dialect

Blow-with-a-stick

Fight

Flying character

Masked characters

Dead talking character

Apparition of the Devil

Apparition of an angel

Puppet theatre within the theatre

Chase

Tragic irony

Murder on stage

Scene of recognition

Splitting of the body

Revelation

Scene in the dark

Seduction scene

Dream

Thunderbolt

Fantastica visione

Fantastic vision

Upon his return from his military service, Turiddu discovers that Lola, the woman he loved, married Alfio. He gets engaged to Santuzza in order to make Lola jealous, and then becomes Lola’s lover. Santuzza, who is desperate, reveals to Alfio that Lola and Turiddu are having an affair. She immediately wishes she had not told him, but she cannot prevent a tragedy from happening. Alfio challenges Turiddu to a duel, and after having thrown dirt into his eyes, Alfio stabs Turiddu to death.

Rod and string marionette

Palermo

Typed or electronic text with handwritten annotations

Impossible love

Honour

Unfaithfulness

Jealousy

Murder

Duel

Dramatic

Sicilian

Per opera dei pupi e opera lirica

Lover (man)

Wife

Lover (woman)

Gossiper

Garbage man

Lamplighter

Fiancée

Husband

Speech-narrative

Spying scene

Off-stage voice

Character leaning against the window

Knife fight

Change of size on sight

Aria

Cavalleria Rusticana

Rustic chivalry for opera dei pupi and lyrical opera

The play is set in 2077, in a military dictatorship. Everything happens in the cellar of a common citizen – Joan. One day when she comes back from work, she finds Dummy in it. He broke into her apartment by breaking a window, as he was trying to hide from the army. He does not own papers and has been shoplifting to survive. At first, Joan believes that he wants to rob her and asks him to hand her his knife. But Dummy is homeless and undocumented: his knife is his only means of defence. What is more, he is emotionally attached to it. Joan then agrees to feed and hide Dummy. He relates his past and confides that he was forced by soldiers to kill one of his parents. Joan and Dummy call on a smuggler, Jack, who promises to forge papers for Dummy, which would allow him to cross the border. However, the money Dummy was keeping in a box has disappeared. At this point, Jack declares that he has links with the army and threatens to report them. Despite the help Joan offers him (she goes as far as trying to request a loan), Dummy turns down her offer to run away with her: he says he wants to leave with Jack and to continue to steal for a living. Joan’s life has radically changed since meeting Dummy, for whom she says she has sacrificed everything. She does not understand his decision and launches into a xenophobic monologue, during which she inflicts extreme violence on Dummy. She stabs him several times, steps on him and tears him up. At the end of the play, the actor dubbing Dummy’s voice walks among the “debris” of the puppets and speaks in a fictional language.

Bond Edward

Great Britain

London

Northampton

Dystopia

Migrant

Escape

Money

Foreigner

Fantastic

Edward Bond, The Chair Plays, 2012.

English

Host

Murderer

Emigrant

Thief

Soldier

Puppeteer

Crook

Recounting of memories

Sleeping character

Imaginary language

Argument

Fight between an actor and a puppet

Destruction of a puppet

The Under Room

Sous-chambre

A flesh-and-blood Pulcinella speaks to the audience about his secret passion for books and, in particular, for Shakespeare's Macbeth. While reading a book and manipulating chess pieces on a small table in front of a castelet, Pulcinella tells the story of Macbeth. At the end, convinced that it's impossible for such a wicked character to die, he casts a spell to keep Macbeth alive. Pulcinella enters in the puppet boots and "Mr. Punch Macbeth" appears on stage.
After hitting his wife Judy and making a sausage with the Baby, Mr Punch-Macbeth meets Hamlet, played by a Pierrot puppet. In an absurd dialogue between the two characters, their stories mingle and Hamlet ends up killing Mr Punch-Macbeth, shouting, « Essere o non essere, non è un problema! » (« To be or not to be isn’t a problem! »). Hamlet falls in love with Juliette, but his brother (a Sicilian pupo) and the puppeteer prevent the marriage of a glove puppet and a marionette. Juliette drinks a potion which makes her appear to be dead. Hamlet swallows a poison which turns him into a glove puppet representing Mobârak (the black valet of the Iranian puppet theater), in the role of Othello.
Othello mistakes Juliette for Desdemona and kills her before remembering that he himself is Romeo. In despair, he commits suicide. Iago enters, interpreted by a puppet with the head of the Neapolitan actor Totò, and proclaims himself king of the wicked. But he is immediately attacked and killed by a Polichinelle playing the part of Richard III. All the characters haunt the sleep of Polichinelle-Richard III: Mr Punch-Macbeth, Hamlet-Romeo, Othello, Iago. In the end, he is pursued by Death, but a horse with Pulcinella’s white hat and black half-mask comes to save him. At this moment, a marotte representing Shakespeare intervenes to bring the show to an end. Accompanied by the song Che cosa sono le nuvole? by Domenico Modugno and Pier Paolo Pasolini, taken from Pasolini's movie of the same name, the puppets make a final appearance on the puppet booth stage.