Drama -- History and criticism; Theater; Theater -- History
masks their actors wore; indeed, that very immobility may have been an
incentive to their imaginations. When the Greeks went to their open-air
theater, as when we gather around the tent-like theater of Mr. Punch,
they knew in advance, as we also know, that the faces of the performers
would be unchanging; therefore they did not expect any variety of
expression; and probably they got along as well without it as we do at a
puppet-show.
There is another likeness between Attic tragedy and Punch and Judy;
there is a limitation in the number of characters we are allowed to see
at the same time. As the hidden performer who operates all the figures
has only two hands, he can bring before us at any one moment only Mr.
Punch and one other of the several characters. The fingers of the right
hand animate Mr. Punch, and the fingers of the left hand animate in turn
Mrs. Judy and the negro and the clown. At Athens (for reasons which need
not here be discussed) the dramatist had the use of only three actors,
even tho these might each of them "double" and appear as two or more of
the successive characters of the play. So it was that there were never
more than three persons taking part in any given episode of an Attic
tragedy as there are never more than two persons taking part in any
given episode of Punch and Judy. In the thumb-and-finger plays devised
in Paris by M. Lemercier de Neuville, he felt so severely the
inconvenience of his limitation to two characters that he devised a kind
of spiral-spring arrangement inside the costumes of his little figures
to hold up their heads; and he prepared invisible supports jutting out
just below the flat ledge which forms the base of the proscenium. Thus
he was enabled to leave the figure in sight, while he withdrew his hand
to animate another character. His _Pupazzi_, as he called them, were
clever caricatures of contemporary celebrities; and he was ingenious
enough sometimes to maneuver half a dozen of them at once with his
single pair of hands, four adjusted into the projecting rests, and two
on his fingers.
Public-domain text, read in full here on John Shaqi.
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