Lutkarski izraz u teatrabilnim oblicima folklora (Pregledni rad)
Pupperty Expression in the Theatrabile Forms of Folklore (Review)

Summary/Abstract: In this paper, the authoress starts from the known folklore puppets: rod dolls, string puppets, and puppets used in shadow theaters. However, she also recognizes puppetry expression in other folklore forms: the objectified man, masks detached from the actor and animated by strings, and rag dolls substituting new-born babies in wedding-feast plays. The authoress compares the sign system of folk puppet plays with art puppetry and the signs present in actor theater. According to her opinion, a folk puppet consists of puppetness, that is, a quality that does not exist in actor expression: the rhythmical motion of the doll/object and the relation between the puppet-master/player and the puppet. The other group of signs includes the puppeteer's speech which is not a necessity in the realization of a folk puppet play. Her analysis of the texts intended for puppet staging shows that there are neither true conflicts nor any conclusions in them, and actions are repeated. As a special sign, the authoress singles out the costume, since the puppet is made of a wooden cross conctruction covered with the costume, and she also mentions the puppeteer's costume as a separate sign because he is not hidden behind a partition but acts as the puppet's opposite, as well as the stage which has a special role in folk expression, and, finally, cleraly distinguishes between the puppet and the props. In folk puppetry the sign systems of both actor and puppetry expressions constantly blend, and the authoress notes that it is the blend of various sign systems that is common in modern puppetry.

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