that puppetry originated in Greece and Rome, as well as Japan, and says that there are puppet shows in Germany, England, France, Italy, and Spain. Starting with this article, many introductory articles about European puppetry appeared from the 1900s to 1920s. Among these, the most frequently discussed was the Marionettentheater Münchner Künstler, founded in Munich in 1906. I would like to explain a little bit about this puppet theater, the Marionettentheater Münchner Künstler. As the name suggests, this was a puppet theater in which many artists were involved. The founder, Paul Brann, was born in 1873 in Oels, Schlesien, and was a young man who wanted to be an actor and director. In 1897, at the age of 24, he moved to Munich, where he became friends with the famous painter and satirist Olaf Gulbransson and other contributors of the famous political-satirical magazine Simplizissimus. Brann was so familiar with the Munich art world of the time that he was appointed to organize the funeral event for Arnold Böcklin at the Künstlerhaus in 1901. In 1903, based on his childhood fascination with puppetry, he began preparing to found a theater company, which premiered in Nuremberg in 1906, and in 1910 the troupe built its own theater space in Munich. Permanent puppet theaters were rare at the time anywhere in Europe.This theatre was in Theresienwiese, and designed by Paul Ludwig Troost （1878－1934）, who built the Haus der Kunst the Führerbau, and the Verwaltungsbau, which means the building we are in now, and according to a doctoral thesis by Renate Philaptisch-Aschober in 1975, "Nach Frau Branns Schilderungen （4.8.73） soll Hitler, ein häufiger Besucher des "Marionettentheaters Münchner Künstler," den Theaterbau auf dem Ausstellungspark sehr bewundert und nach dem Architekten gefragt haben, den er dann sofort mit dem Entwurf des Braunen Hauses beauftragte.”However, no evidence of her remarks remains. Indeed, the appearance of this puppet theater was full of the spirit of elevating puppetry as an art form, and it is a pity for puppetry if this aspiration for improvement attracted Hitler's expansionist tendencies. Brann himself was born into a Jewish family and his theater had to flee to London in 1934.Brann attempted something new by using scripts by contemporary writers such as Schnitzler and Maeterlinck for his puppet repertoire, instead of the old folk tales such as Kasper and Faust, as had been the case until then. The puppets for those ― 523 ―― 523 ―
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