Dolls and Puppets as Artistic and Cultural Phenomena (19th – 21st Centuries) ed. by Kamil Kopania Dolls and Puppets as Artistic and Cultural Phenomena as ArtisticDolls and Puppets and Cultural The Aleksander Zelwerowicz National Academy of Dramatic Art in Warsaw The Department of Puppetry Art in Białystok Dolls and Puppets as Artistic and Cultural Phenomena Dolls and Puppets as Artistic and Cultural Phenomena (19th – 21st Centuries) ed. by Kamil Kopania Reviewers: Dr. John Bell - Associate Professor, Dramatic Arts Department University of Connecticut; Director of Ballard Institute and Museum of Puppetry Prof. Florian Feisel - Staatliche Hochschule für Musik und Darstellende Kunst Stuttgart Proofreading: Dr. Timothy Williams Layout, typesetting and cover design: Jacek Malinowski Copyright © 2016 by Kamil Kopania Copyright © 2016 by the Publisher Publisher: The Aleksander Zelwerowicz National Academy of Dramatic Art in Warsaw The Department of Puppetry Art in Białystok Sienkiewicza 14 Str. 15-092 Białystok, Poland www.atb.edu.pl Publication supported by: The Institute of Art History, University of Warsaw www.ihs.uw.edu.pl Print and binding by: ARGRAF Sp. z o.o. Jagiellońska 80 Str., 03-301 Warsaw www.argraf.pl Print run: 300 ISBN: 978-83-938151-9-7 Dolls and Puppets as Artistic and Cultural Phenomena (19th – 21st Centuries) ed. by Kamil Kopania The Aleksander Zelwerowicz National Academy of Dramatic Art in Warsaw (The Department of Puppetry Art in Białystok) Table of Contents Kamil Kopania – Institute of Art History of the University of Warsaw The Aleksander Zelwerowicz National Academy of Dramatic Art in Warsaw – The Department of Puppetry Art in Białystok Prof. Henryk Jurkowski – in memoriam 6 Sara Ayres – Research Associate, Kingston University, United Kingdom At The Uttermost Limit of Vision: The Wax Dolls of Lotte Pritzel (1887-1952) 10 Samareh Mirfendereski – University of Tehran, Iran Puppetry Elements in the Works of European Surrealists 18 Russell Stephens – University of British Columbia, Canada Paul Klee: Protected Children, Broken Puppets and the Problematization of Modernism 34 Elise E. Cowin – Independent Scholar, Chicago, USA Puppets and Paradox: On the Bauhaus Stage with Oskar Schlemmer 58 Esra Plumer – Independent Scholar, Cyprus The Living Doll: A Look at Hans Bellmer’s Later Work from the “Puppet’s” Standpoint 66 Justin Wadlow – Centre de Recherche en Arts et Esthétique (CRAE) Université de Picardie Jules Vernes, Amiens, France A Different Kind of Intimacy. Greer Lankton and the New York Dolls 80 Marguerite V. Hodge – University of California, San Diego, USA The Transnational Adventures of the Kewpie Doll: Mediating Nostalgia in Pre-War Japan 92 4 Anna Seidel – Westfälische Wilhelms-Universität Münster, Germany ”Woolita”: Crochet Doll as Representation of Interwoven Discourse Understanding ”Being-as-Playing-a-Role” 110 Mirjam Dénes – Eötvös Loránd University, Budapest, Hungary Inspire the Naïf! Marinka Dallos’ Collection of Dolls 122 Milica Stojanov – Museum of Childhood, Belgrade, Serbia Museum of Childhood – From Play to Art 136 Paweł Orzeł – Institute of Art, Polish Academy of Sciences, Poland The Doll as Femme Fatale in L. G. Berlanga’s Life Size 152 Anaëlle Impe – FRESH, F.R.S.-FNRS/Université Saint-Louis – Bruxelles, Belgium The Grotesque as a Paradigm of the Puppet Theater in the 21st Century. Through an Analysis of Ilka Schönbein’s show, The Old Lady and the Beast 164 Noémie Lorentz – University Paris-Sorbonne, France The Puppet as a Paradigm of the Contemporary Living Body – An Inquiry into the Traditional Question of Artificial Life in Contemporary Puppetry 180 Kaliane Ung – New York University, USA Mechanical Affections. A Reconfiguration of Love by Fin-de-Siècle Decadent Dolls 200 Illustrations 211 5 Kamil Kopania – Institute of Art History of the University of Warsaw, The Aleksander Zelwerowicz National Academy of Dramatic Art in Warsaw – The Department of Puppetry Art in Białystok Prof. Henryk Jurkowski – in memoriam The introduction to this volume was originally intended to take a different form. However, on January 3, 2016, during the final stages of work on this publication, I received the sad news that Prof. Henryk Jurkowski had died in Warsaw at the age of 89. Jurkowski was an outstanding theoretician, critic, playwright, translator, scholar of the history of puppet theater, president of UNIMA (Union Internationale de la Marionette) from 1984 to 1992 and honorary president since 1992, lecturer for many years in art schools both in Poland and abroad (including the Department Prof. Henryk Jurkowski of Puppetry Art at the Białystok branch of the Aleksander Zelwerowicz National Academy of Dramatic Art in Warsaw), and a penetrating observer of the postwar development and transformation of this area in the arts, who remained active as a scholar through the last days of his life; his special rank in the discipline is attested by his bountiful contribution to it, consisting of several dozen books, printed in numerous languages, and many articles. What was the essence of the Henryk Jurkowski phenomenon? This Polish scholar embodied a quality of particular importance to those involved in the puppet theater broadly defined and issues relating to dolls and puppets 6 in world cultures; a quality that unfortunately has become increasingly rare in recent decades. Prof. Jurkowski was a real, old-fashioned (in the best sense of that term) humanist. He did not focus, like most contemporary scholars, on a narrow area of knowledge, nor was his scholarship fragmentary. His work, though seemingly focused on the relatively narrow subject of the puppet theater, was inextricably linked with an effort to place the problems he dealt with in the widest possible cultural context and to create comprehensive, erudite studies of ancient, modern and contemporary culture. Prof. Henryk Jurkowski’s voice was a singularly important one in contempo- rary discussions about the puppet theater. It is hard to think of another scholar who provided such a far-reaching analysis of problems, processes, and changes perceptible in European culture. The range of his gaze was made possible, to a considerable extent, by the fact that the Polish and broader Central-Eastern European perspective allowed him to perceive many cultural phenomena left unnoticed in the West. Can you imagine finding a scholar at one of the most famous and reputable universities whose work chronicles the history of the theater in Europe and encompasses developments not only in Spain, France, Germany and Great Britain, but also in the Czech Republic, Hungary, Russia and the territories comprising the former Polish-Lithuanian Commonwealth? You will search in vain for any such person. At the same time, Prof. Jurkowski knew how to produce such syntheses, and did so, as we can see from examining his monumental two-volume History of European Puppetry (1996 and 1998), as well as Ecrivains et marionnettes. Quatre siècles de littérature dramatique en Europe (1991), Métamorphoses. La marionnette au XXe siècle (expanded 2nd edition, 2008) or Przemiany ikonosfery. Wizualny kontekst teatru (Transformations of the Iconosphere. The Visual Context of Theater Art, 2009). Writing works in the areas of theory and aesthetics of puppet theater, he approached them from a broad, pan-European perspec- tive, as demonstrated by his Aspects of Puppet Theatre: A Collection of Essays (1988). He was also the creator, and for many years an editor, of the Encyclo- pédie mondiale des arts de la marionnette (2009). In discussing the breadth of Henryk Jurkowski’s intellectual horizons, it is important to underscore the interdisciplinary nature of his scholarship. The professor was not only a scholar of the puppet theater; he was above all a scholar of culture, interested in puppets, their meaning, history, functions, and aesthetics. When performing his analyses of theatrical subjects, he re- ferred not only to the findings of historians or theoreticians of the theater; but also sought out the works of art historians, literary scholars, historians of religion, and ethnologists. Various kind of sources of knowledge and 7 confrontation with diverse scholarly points of view enabled him to create truly broad, bold interdisciplinary analyses, by which we can recognize a real, thoroughly educated, thinking humanist. In a time when increasing value is placed on specialization, when studies are expected to be fragmentary and as predictable, and subjects as uncontroversial, as possible, Jurkowski outlined comprehensive panoramas of problems, delineated areas for fur- ther research, and shaped the way we look at the puppet theater. In essence, he was interested in almost every kind of activity relating to the animation of things, but in particular their use in forms of ritual, whether theatrical or para-theatrical. This is amply shown in his book Materiał jako wehikuł treści rytuału (Material as Vehicle for Ritual Content, 2011), as well as the earlier Przemiany ikonosfery… (Transformations of the Iconosphere…) mentioned above. A two-volume work, now in manuscript form, with the promising title Lalka w kulturze (The Puppet in Culture) is waiting to be published. We can only hope for it to be edited and published without hindrance or delay. In Paris in 1852, the first-ever history of the puppet theater in Europe, was published: entitled Histoire des marionnettes en Europe depuis l’antiquité jusqu’à nos jours (History of Puppets in Europe from Antiquity to the Present), it was written by Charles Magnin. This book may properly be called ex- ceptional, and the kind of book every scholar dreams of writing, in that over 150 years after its publication, far from being an oddity or curiosity, it remains a valuable, substantial work, an indispensable prerequisite for seriously pursuing the study of the history, forms, and essence of the puppet theater. I have no doubt that the two volumes of Prof. Henryk Jurkowski’s History of European Puppetry, and many other publications of his, will likewise serve scholars as useful sources of knowledge and inspiration for many decades to come. I will close on a personal note.