A Puppeteer’s Journey Estelle Bryer This article is an abridged version of the introduction to Estelle’s new book, The Rainbow Puppet Theatre Book: Fourteen Classic Puppet Plays (WECAN, 2013). Estelle has performed for thousands of adults and children throughout her lifetime of work with puppetry, and her story can provide inspiration and encouragement for those who are striving to bring this ancient art into the modern world. For centuries now, puppet plays have been a source of puppet play resounded and reverberated once more pleasure. It does not matter whether the text is in one in me, in a rapturous medley of sound.” He also said, language or another, whether the story is presented in “Children must have plays and puppets.” Until he was a shopping center or in a palace, or whether the pup- fourteen, Friedrich Schiller liked best to play with a pets are worked by strings, worn on the hands, moved puppet theatre, in which, with his sister, he would per- by rods; puppets are always fascinating to human be- form tragedies of his own invention. A similar story is ings. For these miniature actors are surrounded by an told of Richard Wagner. atmosphere of unreality and fantasy, of magic, mystery In recent years there has been a gratifying increase and dreams—and in addition their humor and satire in the number of professional and amateur puppet afford delightful entertainment. groups; these groups are a living source of creative In these little figures there is a mysterious power and artistic talent. One finds puppet groups in chil- that casts such a spell over children and grown-ups dren’s hospitals, in the treatment of soul disturbances, alike that they are bewitched into imagining living in traffic education, therapy for speech problems, and creatures of flesh and blood in place of puppets made help for victims of war, AIDS, and much more. of wood or other materials. The illusion is so power- In therapy, when a child puts his hand into a pup- ful that even visible puppeteers, strings, and rods are pet he takes on a different role. He can talk and act as not perceived at all. The audience sees only what it he wishes and all is safe. When a child talks “to” a pup- wants to see; indeed it is so gripped by the play that pet, the puppet actually acts as a mediator, as a third the imagination makes its own contribution and they person. The child does not feel confronted by another see much more: laughing and weeping and the whole ego; he feels that he is free to speak or react safely, and gamut of emotions mirrored in the puppet faces. There will not be judged. is a co-operation of understanding and love between Television has opened up a new field for puppets, the puppet and puppeteer. The puppet is the voice, but unfortunately, here another element slips in, for feeling, and sentiment of the puppeteer, and so it is the puppets are being mechanically and electronical- given life. ly dehumanized. They have become contrary to what Nobody knows when these mysteries began. There Rudolf Steiner wanted when he said to Hedwig Hauck is a Chinese legend, supposed to be of the tenth cen- (the puppeteer in Berlin whom he guided in the art): tury BC, that tells of a puppet master who had to cut “Puppetry is a remedy against the ravages of civiliza- open his puppets in order to convince the emperor tion,” and told her to write this statement down be- that they could not make love to the emperor’s wives. cause it was so important. This may be the earliest reference to puppet perfor- Dr. Helmut Von Kügelgen, who was the head of mances. the international Waldorf kindergarten association, The puppet play of Dr. Faustus, which Goethe saw described how in 1917, Leonhard Gem and Hedwig as a young boy, impressed him so deeply that fifty Hauck (painters and sculptors) asked Steiner for ad- years later he created his Faust out of it. As he said in vice on how to build a puppet theatre for a day care his autobiography, “The weighty theme of the Faust center where the children were from four to twelve Fall 2013 15 later I performed The Frog Prince (which they had not seen) for them and all their friends. When the King entered in the middle of the story, they both jumped to their feet in all earnestness, bowed and said, “Good morning, your Majesty.” As they were totally “in” the story he turned to them and said, “Thank you. You may now sit.” And the story went on. I was quite stunned by this at the time, and it left me with many questions, which encouraged my re- search over the years. In 1961, when I was teaching in the Waldorf kin- dergarten my daughter’s first grade teacher, Felicitas Fuhs, arrived out of the Camphill Movement. She was an extraordinarily creative woman, being a musician, eurythmist, and puppeteer. Her beautiful glove-pup- Jason and the Grey Witch is one of Estelle’s most widely performed plays pets were made out of molded felt and the clothes and scenery were of silk. I was soon her ardent pupil, and years old. Steiner became deeply involved in this, and with her portable theatre we performed fairy tales at insisted that the marionettes must hang on threads schools and hospitals to raise funds to buy musical in- tied directly to the fingers (not a cross bar), directed struments for her class orchestra. from above. (See “Marionette Theater: Posing a Task After Felicitas left and our school moved to its pres- for Socially Oriented Education” in An Overview of the ent site in Constantia (Cape Town), I worked with my Waldorf Kindergarten, edited by Joan Almon.) Stein- kindergarten colleague Janine Hurner, who had worked er’s indications were only for marionettes, since that with Clara Hatterman, to build a small but permanent was what he was asked about, but other forms of pup- glove-puppet theatre in the kindergarten and, togeth- petry have since been developed in harmony with his er with parents, created seven beautiful Grimms’ Fairy indications. Tales that we performed regularly for the children and In the first theatre there were three curtains of dif- the general public. We also performed, for our kinder- ferent colors, which were raised one at a time to create garten, the usual table and marionette plays. a dream-like environment. Rudolf Steiner said that Because of the obvious harmful effects on the chil- marionettes cannot speak; that the fairy tales must dren of films at birthday parties I constructed a small be read to the children by a narrator who should sit solo theatre, created fairy tale plays, and performed at on a chair nearby. He said that the reading of the tale the birthday parties of the children of our kindergar- should be simple and natural and the different people ten. Soon I was performing at birthdays throughout characterized with the voice. Cape Town to children of all different races, cultures, Steiner laid special emphasis on the right style and and religious backgrounds. color of the costume fabric, which are concerned with These birthday party shows are both challeng- the soul characteristics of the characters. For example, ing and rewarding. No matter how rowdy and preco- gold is appropriate for a prince or king, representing ciously intellectual the children are to begin with, the the ego. Steiner was particularly interested in stage magic of the live fairy tale, brought with soft voice, lighting and scenery, and everything was done with clear speech, and singing, soon has its effect, much to one purpose in mind: as he said, “We must do every- the astonishment of the adults. So rewarding to me thing in our power to help the children to develop are these birthday puppet shows that I have continued fantasy.” them for more than forty-five years, averaging about My own entry into this wonderful world of pup- seventy per year. (See “Scenes from a Nursery Rhyme petry was the reaction of my daughters Janni and Lin- Puppet Play” in this issue for an example of one of a dy, then seven and five years old, to beautiful wooden successful birthday party play.) Swiss puppets that I bought in 1959. There was a King On seeing the noisy rubbish shown in puppet puppet, and they were instructed by him to stand up shows at shopping centers during the school holidays, when he entered, bow to him and say, “Good morn- with distorted amplifiers on full blast, I decided after ing, your Majesty.” This they dutifully did. A few weeks much deliberation that it would be far the lesser of two 16 Gateways Issue 65 evils for the masses of children to see a beautiful fairy for an appropriate puppet show to counteract this. tale with good amplification versus what they were This new venture was so successful that I devoted two then suffering. I therefore created a larger solo the- mornings per week to it, doing two or three perfor- atre with better lighting and invested in the best sound mances per morning per school. The largest room in equipment. Even under those circumstances the mood the school was packed tight with up to 250 children at of the fairy tale is miraculous. Time after time what a time, sitting on the floor or on carpets. In this way began as a rowdy supermarket setting was trans- up to 20,000 children per year attended performances formed into a peaceful, enriched atmosphere.