INTRODUCTION




AN APOLOGY FOR PUPPETS


After seeing a ballet, a farce, and the fragment of an opera performed
by the marionettes at the Costanzi Theatre in Rome, I am inclined to ask
myself why we require the intervention of any less perfect medium
between the meaning of a piece, as the author conceived it, and that
other meaning which it derives from our reception of it. The living
actor, even when he condescends to subordinate himself to the
requirements of pantomime, has always what he is proud to call his
temperament; in other words, so much personal caprice, which for the
most part means wilful misunderstanding; and in seeing his acting you
have to consider this intrusive little personality of his as well as the
author's. The marionette may be relied upon. He will respond to an
indication without reserve or revolt; an error on his part (we are all
human) will certainly be the fault of the author; he can be trained to
perfection. As he is painted, so will he smile; as the wires lift or
lower his hands, so will his gestures be; and he will dance when his
legs are set in motion.

Seen at a distance, the puppets cease to be an amusing piece of