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俄羅斯美女：莫斯科小姐-2014 奧斯塔什科夫鎮：湖光美景和古老修道院相映成趣

童年記憶中那些栩栩如生的木偶人物

來源： 《透視俄羅斯》
In more than 25 years of work, the Astrakhan State Puppet Theater has given life to over a hundred fabulous, fairy-tale characters (the city of Astrakhan is located 1400 kilometers from Moscow).
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Evgenia Kozlova

25年來，阿斯特拉罕國立木偶劇院賦予了一百多個童話人物以生命（阿斯特拉罕市距離莫斯科1400公里）。
Among them are marionettes, handle puppets (handles are attached to the puppet's body parts), hand puppets (worn on the puppeteer's hand), and rod puppets (controlled using rods).

Evgenia Kozlova

其中有牽線木偶、手柄木偶（木偶的身體部位有手柄相連接）、手偶（戴在木偶表演者的手上）以及桿動木偶（使用木桿控制）。
Everything starts with a sketch. They are drawn up by Alexander Masharov, the theater's artistic director. He creates images of the characters and lays out the setting on paper in order to give an idea of the future show's atmosphere. A sketch for the show "Freeze, Freeze, The Wolf's Tail"

Evgenia Kozlova

一切均源於劇院藝術總監亞歷山大•馬沙羅夫（Alexander Masharov）繪制的一張草圖。他創造了這些人物形象，並將其勾畫在紙上以給未來節目場景提供一些創意。劇目“不許動，不許動，狼尾巴”的草圖。
Alexander notes that it's more interesting to work on negative, or "bad", characters. "Their emotions, their character traits are clearly expressed. For example, one of my favorite characters is the khan from "The Golden Donkey of Nasreddin". He's a cad and an envious man; he limps on one leg and has a squinty eye. But despite all that, he's got a certain zest in him." (left)

Evgenia Kozlova

亞歷山大指出：創造負面人物或“壞”人更為有趣。“需要鮮明地表達它們的情感以及性格特征。例如，《金色毛驢納斯雷丁》中我最喜歡的人物—可汗，它是一個有著嫉妒心的無賴；瘸著一條腿還有一只斜眼。但是盡管如此，它還是在一定程度上得到了觀眾的熱情關註。”（左的）
Using the technique of applique (an ornament or device applied to another surface), layouts are created out of the materials and textures that the puppets will be made from. A sketch for the play "Emelino's Magical Wish".

Evgenia Kozlova

利用木偶制作材料裝飾場景的貼花技術（將裝飾品或裝置應用於另一物體表面）。《艾米麗諾的魔幻願景》草圖。
The theater's head puppeteer, Olga Belogorskaya, with a mask.

Evgenia Kozlova

戴面具的劇院首席木偶表演者：奧爾加•別洛戈爾斯卡亞（Olga Belogorskaya）。
One of the most difficult tasks in creating a puppet is making its head. The process begins by creating a clay sculpture whose shape will be used to subsequently pour two plaster forms. When these two halves are ready, they are papier-mached. After they dry, the parts of the future puppet's head are glued together and trimmed.

Evgenia Kozlova

木偶創作過程中最困難的就是頭部的制作。開始先要創造一個粘土雕塑，隨後將其制作成兩部分石膏模型。當這兩個模型準備好後，它們已成為混凝紙。等到風幹後，未來木偶的頭部將被黏合在一起而後進行修整。
The puppet's arms can be either hard (wooden or papier-mache) or soft (sewn together from materials or stitching) depending on the character's role.

Evgenia Kozlova

木偶的手臂可以是硬的（木制或混凝紙）或者軟的（將材料縫合在一起），這取決於人物的角色。
Alexander Tikhonov, the theater's engineer, prepares a special device: a wooden rod that the puppet is held from.

Evgenia Kozlova

劇院工程師亞歷山大•吉洪諾夫（Alexander Tikhonov）準備了一個特殊裝置：操作木偶的木桿。
Thanks to this frame, characters can turn their heads, blink, and open their mouths. The doll's arms are controlled using rods or spokes attached to its wrists.

Evgenia Kozlova

是基於這樣的框架，木偶才可以轉動它們的頭部、眨眼以及張嘴。娃娃的手臂由連在其手腕上的木桿或輻條所控制。
After a show is removed from the repertoire, the used puppets go to the theater's storage. Heroes from all past shows "live" here, like time-worn knitted bunnies or puppets of girl that no longer appear on stage...

Evgenia Kozlova

當一個劇目被從節目單刪除後，使用過的木偶就會進入劇院倉庫。所有節目中的英雄仍然“活”在這里，例如：年代久遠的針織兔子以及女孩兒木偶，雖然它們再沒出現在舞臺上…
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2014年7月3日
標簽: 孩子、 兒童、 傳統、 劇院

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