trend.For example, “Ombre Chinoise” at the Chat noir cabaret in Paris in 1887, King Ubu by French Dada pioneer Alfred Jarry in 1896, Kunstfigur by Oskar Schlemmer in 1923, Figurenspiegel of Austrian Richard Teschner in 1931, the hand puppets by Paul Klee and puppets by Italian Futurist Fortunato Depero. There were also a theoretical reevaluations of puppetry by Edward Gordon Craig, Bernard Shaw, and others.The artistic possibilities these theorists saw in puppetry were many and varied. For example, Craig, the most famous theorist of puppetry, saw the advantage of puppets in their passivity, in their lack of emotion and self-interest, in contrast to actors, whereas Schlemmer saw puppets as abstract human beings, "das treue Medium für die Schönheitsvorstellungen des Künstlers.” （the faithful medium for the artist's ideas of beauty. Georg Fuchs, who saw the Marionettentheater Münchner Künstler, thought that it has the power of "Entliterarisierung des Theaters und der Wiederentdeckung der Lust des Zuschauens” （De-literarization of the theater and the rediscovery of the pleasure of spectatorship）. Compared to the more eloquent critics, we still know very little about how the Japanese and German artists who worked with puppets, such as the ones discussed here, viewed the puppet theater itself. Just as each form of puppet theater that these artists worked on was unique, each hope they had for the art form must have been unique as well. The next stage of my research will be to examine the puppets that remain from these early productions and investigate more widely the discourse surrounding puppetry at that time in order to discover the hopes critics and artists had for a new, as yet unknown art form, as suggested by each of the expressions in puppetry that emerged from cross-cultural negotiations at the beginning of the 20th century.In this library, I was able to obtain many materials on the Munich art world at the beginning of the 20th century that are not available in Japan. Also, at the Stadtmuseum, I found many many letters between these artists and the puppet theaters, as well as many miraculously well-preserved puppets. I am going to investigate these materials in more detail.Thank you for your attention.― 527 ―― 527 ―
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