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俄罗斯美女：莫斯科小姐-2014 奥斯塔什科夫镇：湖光美景和古老修道院相映成趣

童年记忆中那些栩栩如生的木偶人物

来源： 《透视俄罗斯》
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年来，阿斯特拉罕国立木偶剧院赋予了一百多个童话人物以生命（阿斯特拉罕市距离莫斯科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

其中有牵线木偶、手柄木偶（木偶的身体部位有手柄相连接）、手偶（戴在木偶表演者的手上）以及杆动木偶（使用木杆控制）。
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

一切均源于剧院艺术总监亚历山大•马沙罗夫（Alexander Masharov）绘制的一张草图。他创造了这些人物形象，并将其勾画在纸上以给未来节目场景提供一些创意。剧目“不许动，不许动，狼尾巴”的草图。
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

亚历山大指出：创造负面人物或“坏”人更为有趣。“需要鲜明地表达它们的情感以及性格特征。例如，《金色毛驴纳斯雷丁》中我最喜欢的人物—可汗，它是一个有着嫉妒心的无赖；瘸着一条腿还有一只斜眼。但是尽管如此，它还是在一定程度上得到了观众的热情关注。”（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

利用木偶制作材料装饰场景的贴花技术（将装饰品或装置应用于另一物体表面）。《艾米丽诺的魔幻愿景》草图。
The theater's head puppeteer, Olga Belogorskaya, with a mask.

Evgenia Kozlova

戴面具的剧院首席木偶表演者：奥尔加•别洛戈尔斯卡亚（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

木偶创作过程中最困难的就是头部的制作。开始先要创造一个粘土雕塑，随后将其制作成两部分石膏模型。当这两个模型准备好后，它们已成为混凝纸。等到风干后，未来木偶的头部将被黏合在一起而后进行修整。
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（木制或混凝纸）或者软的（将材料缝合在一起），这取决于人物的角色。
Alexander Tikhonov, the theater's engineer, prepares a special device: a wooden rod that the puppet is held from.

Evgenia Kozlova

剧院工程师亚历山大•吉洪诺夫（Alexander Tikhonov）准备了一个特殊装置：操作木偶的木杆。
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

是基于这样的框架，木偶才可以转动它们的头部、眨眼以及张嘴。娃娃的手臂由连在其手腕上的木杆或辐条所控制。
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

当一个剧目被从节目单删除后，使用过的木偶就会进入剧院仓库。所有节目中的英雄仍然“活”在这里，例如：年代久远的针织兔子以及女孩儿木偶，虽然它们再没出现在舞台上…
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2014年7月3日
标签: 孩子、 儿童、 传统、 剧院

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