Kasperle


Kasperle, Kasper, or Kasperl is a famous and traditional puppet character from Austria, German-speaking Switzerland, and Germany. Its roots date to 17th century, and it was at times so popular that Kasperltheater was synonymous with puppet theater. Kasperltheater includes the following characters: Kasper, Gretel, Seppel, Grandmother, princess, king, witch, robber, and crocodile. The older, more traditional Kasperle shows are very similar to "Mister Punch". There are also "Kasperle versions" of the Grimm and other fairy tales and of "modern fairy tales".
Kasper is the hero of German puppet theater. The name Kasper probably comes from the ancient Persian meaning "keeper of the treasure." Tradition holds one of the three Magi who visited the Christ Child was named Caspar. This character also existed in the mystery plays of the medieval Church.
The puppet Kasper, along with France's Guignol, and Britain's Punch and Judy, has his origins in the character of Pulcinella, a stock character of the Italian Commedia dell'Arte. Pulcinella was a violent character typically dressed in white clothing, a long white hat, and a black mask. The character is generally identified with Naples.
The puppet character currently named Kasper first appeared in Munich in 1858 in a marionette play by Graf Pocci. Like his cousin Punch, the early Kasper used a slapstick to beat the devil, witch, and crocodile.

The Hohnsteiner style

In 1920, Max Jacob introduced the form of Kasper Theater recognized today. Kasper became a positive hero, eventually stopped using the slapstick, and took on a more childlike quality. This form is called the Hohnsteiner style.
Modern Kasper plays involve Kasper helping his friends with various problems. For example, the Witch turns Seppel into a chicken or someone steals Grandma's cake. The structure of Kasper theater is also used to retell Grimm Fairy Tales such as Hansel and Gretel and Little Red Riding Hood. In Southern Germany and Austria, Kasper is known as Kasperle or Kasperl.
Kasper and his friends come alive for children as soon as the play starts. When watching a skit, the children learn important values in a safe and healthy way. In this world of make-believe, children are free to express their thoughts and creativity. While role-playing, children relive their daily experiences learning to understand the feelings of others, freeing themselves from fears and worries. Adults, whether playing along or just watching, can gain valuable insight into children's motivations and feelings. At the same time, children are also developing their motor and verbal skills.
Children spontaneously make up stories as the puppet play progresses. They quickly begin to create their own situations and dialog. The following pages provide several interesting stories and descriptions of the major characters. You will realize that puppet play isn't just about fairy tales. Modern topics and themes are easily expressed and developed.
, an American-based company under the direction of Silesian-born Peter Schumann, often presents short skits by the fictitious "Rotten Idea Theater Company", which features multiple Kaspars. The Kaspars are generally violent, dishonest tricksters, and play out some form of political or social satire while beating each other with clubs.

Kasper’s cousins

Punch was introduced in Great Britain in the seventeenth century by an Italian performer named Pietro Gimonde. The original Pulcinella was a marionette. Over time, his name was anglicized to "Punch," and he became a hand puppet. "Pleased as punch" and "beat the devil" probably originated from Punch and Judy puppet theater.
Whereas the Max Jacob-inspired Kaspar has abandoned much of the bawdiness of 17th century street performance, Punch embraces it. The traditional Kasper and modern Punch use a slapstick to beat the crocodile, police, and even the Devil. "Slapstick" originates from the Commedia Dell'arte baton made of wooden slats fastened together like a castanet. On impact, the slapstick makes a loud slapping sound. The term has become synonymous with physical comedy.
Punch is aggravated by his whining child, nagging wife, and ineffective bureaucracy. This eventually leads to Punch hitting other characters with his slapstick, but it is a very ritualized form of violence. Traditional shows ended with Punch defeating the ultimate evil and proclaiming "Huzzah, Huzzah, I've killed the Devil!" In modern endings, Punch is punished by being swallowed by the crocodile, scared into repentance by a ghost, or arrested by the police.
Punch performances also differ from Kasper by use of a "swazzle." The swazzle is used to give Punch a high pitched, squeaky sound. Punch performances are usually put on by "professors". In some cases, Punch may be unintelligible, and the "professor" must act as an interpreter.
During the 19th Century, Punch performances could be easily found on the streets of England. Today, they are much less common. As a continuing English tradition, Punch performances are more likely to be found on the beach during holidays.
Forms of Pulcinella can be found throughout Europe and even Turkey. The characters have different names in various countries. In France, he is known as Polichinelle. In the Netherlands, he is Jan Klaassen, a character whose personality varies greatly from region to region—sometimes sweet, sometimes a trickster. Turkey's Karagoz and the Greek Karaghiozis descend from a common Ottoman shadow puppet tradition; the origin of these traditions and the relationship, if any, to the Pulchinella "family" is unknown. Likewise, the Javanese shadow puppet figure of Petruk, shares characteristics with these European figures—some Javanese identify Petruk as a European—and it is tempting but impossible to confirm a historical relationship.
Stravinsky made the Russian Petrushka famous with his ballet of the same name. This story involves three puppets that come to life. Eventually, Petrushka is murdered by the Moor out of jealousy for the Ballerina. In the final scene, it's discovered that Petrushka was just stuffed with hay all along.