![]() The visual poetry of the shows was essentially the work of two artists, the director Mansi Stycz and stage designer Anna-Liisa Tarvainen. Teatteri Mukamas (Mukamas Theatre) was founded in 1979 in Tampere. Later, its artistic director, Kristiina Hurmerinta, and the Polish puppeteer Anna Proszkowska, created a second company, Pandoran Näyttämö (Pandora´s Stage), an avant-garde visual theatre aimed at adult audiences. In the western coastal city of Vaasa the bilingual Teatteri Peukalopotti/Teatern Tummetott (Little Thumb Theatre) was established in 1976. Nukketeatteri Sampo (Puppet Theatre Sampo) was founded in Helsinki in 1977 by Maija Barič and Bojan Barič, both graduates of the Academy of Performing Arts in Prague. The company created many new plays for puppets, some of which were regularly performed in the Finnish National Theatre in Helsinki. Teatteri Hevosenkenkä (Horseshoe Theatre) was established in Espoo in 1975 by director Kirsi Aropaltio (today Kirsi Siren) and stage designer Sara Siren. Her successor was Ulla Raitahalme until 2004, when the theatre was closed. She was its artistic director until the 1990s. In 1971, director Sirppa Sivori-Asp (1928-2006) was one of the founders of Nukketeatteri Vihreä Omena (Green Apple Puppet Theatre), the first truly professional puppet theatre company in Finland which was active for more than thirty years. The 1970s saw the foundation of five professional puppet theatre companies. The 1970s to the PresentĬertain persistent women artists were responsible for the success of the puppet theatre, until then regarded as the poor relation of the performing arts. The Kasper-teatteri (Kasper Theatre), related to its central European cousins, was founded in the 1960s by Irja Ranin (1939-1995) and Matti Ranin (1926-2013) in addition to playing in conventional venues, it appeared on children’s television, Niksulan TV, for nearly thirty years. Leo’s poetic performances, rooted in her humanist interpretation of fairy tales, were performed internationally. Mona Leo (1903-1989) instituted the Helsingfors Dockteater-Helsingin Nukketeatteri (Helsinki Puppet Theatre) in 1952. Inspired by her travels in Germany and France, the writer, Annikki Setälä (1900-1970), established her own puppet theatre in Lapland, the Lapin Nukketeatteri (Lapland Puppet Theatre) in Rovaniemi, up to the 1960s. They inspired an enthusiasm which encouraged Finnish puppeteers to give performances reflecting their influence. ![]() At the beginning of the 20th century, the pioneers of the Finnish puppet theatre gave their first shows: Kalle Nyström (1865-1933) and his string puppets Bärbi Luther (1889-1979), a kindergarten teacher, and her shadow theatre and, in the 1930s, Arvo Avenius (1901-1972), a circus artist, who gave trick puppet shows.Īfter World War II, two noteworthy visits from abroad were made to Finland: in 1949, the French Jacques Chesnais and, in 1950, the Russian Sergei Obraztsov. Itinerant European troupes touring Stockholm and Saint Petersburg passed through Finland, staging their pieces for string marionettes, trick and transformation puppets or showing their theatrum mundi. ![]() In fact, Finland only joined in the practices of other European countries in the 19th century. Some folkloric manifestations could be considered reminiscent of puppet and mask theatre, such as the masks and effigies used in the feasts and rituals accompanying the killing of a bear ( karhunpeijaiset), or the masks and disguises of the nuuttipukit, groups of strolling players who went from door to door at the end of the Christmas festivities. Like the other Nordic countries, Finland lacks a long puppet theatre tradition. A Nordic country located in Northern Europe, the Republic of Finland (Finnish: Suomen tasavalta) is bordered by Sweden to the west, Norway to the north, and Russia to the east.
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