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Parsley on a stick. Master class Craft product Early development Sewing Parsley - toy Master class Beads Beads Cardboard Lace Buttons Soutache braid cord Fabric Felt. Parsley doll making workshop

Simple types of needlework are very popular today, they come back from the past and perfectly coexist with fashion trends.

A funny papier-mâché nursery rhyme doll will replenish the home puppet theater and become the first character in it. Manufacturing does not require special skills and expensive materials, it will also take very little time, but the pleasure from the process and the result will be great. The craft can be used instead of a rattle for toddlers or games for preschoolers.

What to prepare for creativity

To get started, as usual, prepare materials and tools. To make a do-it-yourself nursery rhyme doll, prepare:

  • klester,
  • paper,
  • scissors,
  • skewers or a thin strong stick,
  • a pile or cup as a form,
  • scraps of tissue
  • ribbons,
  • a large bead,
  • glue Moment,
  • thread with a needle,
  • two plastic clamps.

Step-by-step manufacturing technique

Wrap a stack of plastic and start glueing pieces of paper on top of it, creating a papier-mâché shape for a nursery rhyme.

In order not to get confused in the layers, you can make one layer white, and the next one with beeches and pictures.

Let the workpiece dry out every 3-5 layers. Since the shape needs to be solid and strong, you will need to apply at least 20 layers.

While the form dries, there is time to make a stick for the nursery rhyme doll. Wrap the bamboo skewers with a tape or a strip of fabric, securing it well from the edges with glue. Moment. Place a bead on the end of the resulting stick, securing it with glue.

If the bead is not large enough, you can put papier-mâché on it to increase its size.

Gently glue a piece of light fabric onto the bead, wrap the excess ends with a thread on top.

On a strip of non-crumbling fabric, such as fleece or felt, cut the cross cuts.

Glue the resulting fringe on the nursery rhyme parsley head bead, imitating hair.

Make a cap from a piece of fabric and glue it over the resulting hair. The actor's head is ready!

Just below the head, fasten two plastic clamps, these will be the hands. Instead of clamps, you can use any flexible material that returns its shape. For example, cutting off the tape from a plastic bottle.

The papier mache blank should dry well.

Make a hole in the bottom of the workpiece, equal in diameter to the diameter of the stick.

Pass the stick through the mold and measure the required length of the handles. When hidden in the shape of a head, the handles should not be visible.

Place pieces of fabric on the palms of the plastic handles so that the sharp ends do not break through the fabric. Sew a rectangle from a patch of bright fabric and put it on the nursery rhyme. Secure around the neck with glue and thread.

Spread out the Nursery Parsley's clothes. In the area of ​​\ u200b \ u200bthe palms, tie with a thread, indicating the hands.

Slip a parsley garment over the top edge of the mold. Before this, pour beads, small buttons or dry peas into the shape itself, which will create the effect of a rattle.

Glue the clothes of the homemade rattle around the entire circumference of the shape.

To decorate papier-mâché, take a rectangular piece of fabric and wrap it around the shape, secure with glue.


Sew the bottom edge of the fabric with sparse stitches.

Pull the fabric together to form a bottom. In this case, the stick should move freely up and down.

Nursery - the parsley is ready. Don't stop at one!

If you are interested in homemade toys, pay attention to, and. Such toys do not harm children and emit special heat!

The heroes of the Russian puppet theater are known to kids from an early age. One of these is Petrushka - a peculiar and characteristic jester with a cheerful character and kind disposition. Initially, it was created in the form of a glove-type doll, which could be given an active character with the movements of your own hand.



Later, the doll was turned into a hero of the puppet theater. However, the glove option is still popular.

Mandatory features of a parsley image are:

  • a red shirt decorated with patterns with folk ornaments;
  • wide canvas pants tucked into boots dashingly;
  • a long cap, at the end of which there is always a tassel.

Sometimes the pants are missing, a long shirt seems to cover the legs.

The cap can be bifurcated, and then there is a tassel at each end.


How to sew?

The Parsley soft toy is desirable in almost all homes where there are children. Putting it on your hand, you can easily cheer up the child, cheer him up, distract him from unnecessary problems. And if you prepare several similar folk characters, you can get a full-fledged troupe of puppet artists.

How to make parsley with your own hands? We will make the head from papier-mâché, the elements of the body will help to make special patterns. You can sew them with your hands, if you have a machine, use it. If neither one nor the other is unacceptable, using a special fabric glue, you can gently glue all the details around the perimeter.

To work, you will need the kit shown in the photo.

We make a papier-mâché head with our own hands as follows:

  1. Grind the egg trays and fill them with boiling water.
  2. After complete soaking, squeeze out excess water and add PVA glue in a ratio of 3: 1.
  3. A cylinder must be inserted into the head in advance for the subsequent fastening of the body.
  4. Taking a round base, apply the finished mass to it and additionally sculpt relief details: nose, forehead, ears, chin.


Further actions are carried out after the base has completely dried. Used hand-painted paints:

  • cover the head with water-based paint, after which we paint the entire surface with a flesh-colored shade;
  • we design facial features, make them as kind and smiling as possible;
  • then it's the hair. We wind the selected threads on the frame. We cut them along the edges;
  • we glue the base with hair around the circumference of the head - it turns out that it looks like curls that have come out from under the cap.



The costume will say a lot about the character

How to sew to make it beautiful? Parsley is a doll that "constantly walks to the guests." Therefore, we use only bright variegated colors of fabrics, the scraps of which we sew in order:

  • we apply a pattern, outline it with a pencil and cut it out, taking into account the seam allowances;
  • we sew the details and get a shirt;
  • a cap on the head is made in the same way;
  • a hand in a mitten is also performed;
  • its attachment to the shirt is due to the inserted cylinder.



We combine the made parts, we get the most expressive of the folk dolls - Parsley.

How else can you do it?

If the papier-mâché head can remain the same for other versions of the doll, then the clothes can be knitted. On doll models, such things look especially touching and original. You can also tie the head. Such a hero is made by crocheting in a circle with single crochets.

The people's favorite doll can be sewn entirely from fabric using special patterns. Cutting out every detail, we sew at the places of their connection. Then we fill the inner cavity of the head with something soft, for example, foam rubber, cotton wool, holofiber. The shirt should not be filled.

This is a comfortable place for the hand to control the movements of the doll. Legs made in the same way can be sewn to the bottom of the shirt. Then, when the toy is revived with hand movements, they will sway funny, giving the image a special expressiveness.

Don't be afraid it won't work! Sew and see how exciting and tempting this business is. And the hero, obtained as a result of such an interesting work, will not only be cute and sweet, but also warmed by the warmth of your soul, which he will generously share with the children.

The ancestor of all types of riding dolls is the so-called parsley doll, that is, a doll that is put on directly on the actor's hand and does not have any additional devices to control it.

She got her name from the hero of ancient folk puppet shows - the cheerful mischievous person Petrushka.

The parsley doll has no body: it consists of a solid head and a costume attached to this head. When the actor puts his hand into the doll's costume, the doll acquires a torso.

The puppeteer's hand can be positioned inside the doll in different ways - this changes the device, and with it the expressive capabilities of the parsley doll. There are two most common ways to control a parsley doll:
1) the index finger enters the doll's head, the big and middle fingers go into the sleeves of the suit, the little finger and ring finger are bent to the palm ( rice. 1);
2) the index and middle fingers enter the head, the thumb - into one sleeve, the ring and little fingers - into the other ( rice. 2).

Comparing even the simplest control systems and the constructions caused by them, we see that the "life" of these dolls is somewhat different. Have a doll on rice. 1 the neck is very mobile, but the turn of the head is associated with the turn of the body. Doll on rice. 2 does not have such a flexible neck, but it freely turns its head without turning the body. To do this, just wiggle your fingers in your head.

You can control the doll as shown in rice. 3... Such a doll in appearance is closer to a human figure. The disadvantage of this control method is that the bent ring finger with a poorly trained hand makes it difficult for the actor to play.

On rice. 4 depicts a doll that less constrains the movements of the actor's hand than the previous one, since the ring finger bends to the palm together with the middle one.

There are different ways to control the doll with both hands at the same time ( rice. 5 and 6 ). Each of them is conditioned by one or another function of the doll. So, for example, the doll depicted in rice. 5, has a very mobile left arm, which can even rotate in the wrist.

There is also such a rare variety of dolls ( rice. 7), in which the upper part of the body forms a single sculptural whole with the head, and the arms move only from the elbow. These dolls are controlled in the following way: the actor's thumb and pinky are the doll's hands, and the other three fingers support the body.

The puppeteer's fingers can sometimes enter not directly into the sleeves of the doll's costume, but into the little cases, which are attached, in turn, to the sleeves of the doll. Such a doll requires a special cut of the dress ( rice. eight).

And finally, among the dolls worn on the hand, group dolls should be noted, sometimes used in crowd scenes in the background. In such cases, a small doll is put on each finger of the performer ( rice. nine) or all five characters are connected on one common glove ( rice. ten). This helps to put on the dolls faster and to operate them more confidently. The costumes of the characters are created by applying or coloring individual parts of the glove.

Rice. eleven shows a group doll that combines three characters. The actor's thumb and little finger control the left hand of one of the extreme characters and the right hand of the other. The other four arms remain motionless (they may even be absent altogether).

This, of course, does not exhaust all the possibilities of controlling a doll put on one or both of the actor's hands. New tasks give rise to new varieties of theatrical puppet. Each of them has its own advantages and disadvantages and is used depending on how much this type of doll helps the actor and director to fulfill the tasks that they set for themselves when embodying this or that image.

Torso

The body of the parsley doll is the actor's hand inserted into a three-fingered glove attached to the head. The size and cut of the glove depend on the control system of the doll and on the size of the puppeteer's hand. It is clear that each variety of dolls requires a different cut of the glove. The glove should fit snugly around the puppeteer's hand, at the same time not binding its movements. Therefore, the glove is sewn with fitting, and the actor during fitting keeps his fingers in the "working" position, that is, as if he was actually controlling the doll. It is better to take the material for the glove that is durable, but soft enough so that it does not impede the movement of the hand. For example, coarse calico can serve as such material.

If the glove is at the same time a doll's costume, then the material for it is selected in the appropriate color and pattern; often on the fabric from which the glove is sewn, an applique is sewn on or a drawing is applied with paint. Such a glove-suit is not cut close to the puppeteer's hand, but somewhat looser in order to disguise the shape of a human hand inserted into it ( rice. 12).

This is a primitive way of dressing up, found, as a rule, only in amateur circles. In professional theaters, a special suit is usually put on over the glove, concealing the inevitable "lopsidedness" of a parsley doll, associated with the asymmetry of the human hand. In some cases, with the help of a suit, they try to bring the shape of the doll closer to the shape of the human body, knocking the shoulders, back, chest with cotton wool. It should be warned against excessive enthusiasm for such thicknesses - they impede the movement of the puppeteer's fingers and reduce the expressiveness of the doll.

For the doll pictured on rice. eight, the glove is not sewn. To keep the suit in shape, it is made of dense fabric or placed on a lining. The costume is attached to the neck. The shoulders are made of bags tightly stuffed with cotton wool, and hands made of cardboard tubes or fabric tightly stuffed with cotton are sewn to them. The arm has a free fold at the elbow. For the thumb and little finger, two sheaths are sewn to the suit (in the color of the dress) approximately at the waist level. Their ends are attached to the doll's wrists.

The material for the doll costume can be even denser than for the glove. However, certain boundaries must be established here too. For dolls worn on the hand, you should avoid using such heavy materials as brocade, satin, thick velvet - they make it difficult for dolls to gesture, bristle, lie down in rough, ugly folds.

Head

The head of a parsley doll is made in an average size of 8-10 cm(in children's amateur circles, this size decreases accordingly and can reach 5-6 cm).

A large head should not be made: this will not only not increase, but, on the contrary, reduce the expressiveness of the doll. The fact is that the body of a parsley doll cannot be enlarged - it corresponds to the size of the actor's hand. And an exorbitantly large head on a small torso makes an unpleasant impression. In addition, the large head obscures the doll's hands and restrains their movements.

The doll's head is usually molded together with the neck, and with a slight forward tilt. It is especially necessary to ensure that the head is not tilted up in relation to the neck: otherwise, the viewer who looks at the doll from below will see her face in the wrong perspective.

When a doll with a flexible movable neck is required, it is recommended to sculpt the head without a neck; it is replaced directly by the puppeteer's finger, inserted directly into the head and covered with cloth or jersey. In this case, the doll is controlled as shown in rice. 1... Dolls of animals (dogs, hares) are usually molded without a neck. This is due to a different position of their head in relation to the body than that of dolls depicting people.

The head can be made with a greater or lesser degree of convention, to the extent that the head can be a ball with glued or painted ears, nose, mouth and eyes. If dolls with ball heads are applied to the place and executed with talent, they can have great expressiveness (like, for example, pop dolls by S. V. Obraztsov).

It is difficult to give precise guidelines for sculpting a doll's head. Nevertheless, there are some rules that have been tested by time and theatrical practice.

In the doll's head, only the main, most characteristic facial features are worked out: small details, for example, wrinkles, the viewer will not see anyway.

The doll on the screen is almost always turned towards the viewer in profile. Therefore, the doll's profile should be clear and expressive. If the doll is "unprofile", it often remains unclear for the viewer in which direction it has turned and in which direction it is looking.

While creating a characteristic expressiveness of the face (mask) in the doll, corresponding to this or that image, it is impossible to give it a frozen expression of any definite emotion, so to speak, "the mimicry of a given minute." You can make a doll fun, but you can't make it with a frozen smile. A character who constantly smiles throughout the play quickly gets bored.

The doll's head is most often made of papier-mâché, as well as wood, fabric, or knitwear stuffed with cotton wool.

The process of carving wooden heads is complex and requires the skilled hand of a specialist craftsman. In addition, the head made of wood is much heavier than the head made of papier-mâché. For these reasons, wooden heads are rarely used. They are preferred only in those cases when a complex mechanism must be mounted in the doll's head, which is difficult to fix in papier-mâché.

To prepare a wooden head, take a seasoned dry linden. The wood is processed with sharp knives and chisels. To make the head lighter, it is made hollow, choosing a tree through the back of the head and neck (the hole in the back of the head is then closed with a wig). Or, having cut the head in half, choose a tree from both halves, and then connect them together with thin carnations and wood glue.

Dolls with a head made of cotton wool, covered with fabric or knitwear, are mainly used in amateur circles, and even then they are relatively rare. With this primitive method of crafts, doll heads usually do not retain the desired shape, and paint does not fit well on them.

Most often, papier-mâché heads are used in the practice of puppet theaters. There are two ways to make them: 1) pasting a clay or plastic mold with paper from the outside and 2) pasting in a plaster mold from the inside.

The first way much simpler, but gives a strong distortion of the model. It is better to resort to it in cases where the head is so large that it makes it difficult to cast a plaster mold; in addition, at larger sizes, distortion will be less noticeable. External gluing is also used in the manufacture of individual decorative parts and props from papier-mâché.

The model, that is, the initial sculptural form, is recommended to be sculpted from plasticine, since the required degree of humidity has to be maintained in the clay all the time.

When the model is ready, the paste is brewed. To do this, rye or wheat flour is diluted in cold water until sour cream is thick. The paste is boiled over low heat, stirring all the time so that it does not burn.

While boiling, some very liquid wood glue is added to the flour. When, after a short boil, the paste thickens, it is considered ready.

You should not use pure wood glue for gluing papier-mâché - you will get a fragile head, which is also difficult to paint.

Any kind of non-glued paper is suitable for making papier-mâché - newsprint, wrapping paper, etc. Glossy paper is not good for this.

Before pasting, the model is smeared with petroleum jelly or some other fat.

The paper to be wrapped is torn into small pieces (approx. 2 x 2 cm). You should not cut the paper with scissors or a knife: it is necessary that the edges of each piece are soft.

The first layer, directly adjacent to the model, consists of pieces of paper dipped in water. Starting from the second layer, the papers are smeared with paste and applied in layers over the pasting form. When overlapping, the pieces of paper should go over one another. Each piece is carefully smoothed so that the paper does not gather in wrinkles. In those places where there are irregularities on the model (eyes, nose, mouth), the pieces of paper are firmly pressed with a finger.

Thus, the model is pasted over with four or five layers of paper. If the paper is thin, then the number of layers increases to six to seven. In order not to be mistaken in the counting of words and not to make it thick in one place and thin in the other, they use paper of two different colors: one layer is superimposed in one color, the other in the other.

In cases where increased strength is required (especially if the head is made of large sizes), the number of layers is brought to eight to ten.

Better yet, leaving the usual five layers of paper, place two layers of gauze between them. This will not make the head very heavy, but it will significantly increase its strength.

After pasting, the head is dried, just not directly over the fire, otherwise it will warp. To speed up drying, you can use an oven that is not very hot and always with the door open so that the steam can escape freely.

When the papier-mâché is dry, cut it open with a sharp knife or razor as directed. dotted line on rice. 13, and carefully remove both halves from the clay. If the shape of the nose or chin makes it difficult to remove the papier-mâché, then the model has to be destroyed.

If the shape of the face does not allow making an incision in the manner shown in rice. 13, it is done as indicated in rice. fourteen... However, the latter method is resorted to only in case of emergency, since a longitudinal seam made across the entire face, with insufficient experience of the master, can disfigure the doll, moreover, a head with such a seam is less durable.

Having removed both halves of the head from the clay, the papier-mâché is again connected along the seam, first with threads in two three places, then with a strip of thin cloth on glue and, finally, with paper.

With the second method from a clay or plastic model, a plaster mold is first cast. To do this, the model is lubricated with petroleum jelly or, better, with a heated mixture of kerosene and stearin (in children's amateur circles, the latter method is not recommended). Then around the head along the incision line shown in rice. 13, a "barrier" is made, that is, pieces of tin or cardboard are stuck into the clay close to each other ( rice. 15). Such a barrier helps to accurately cast both halves of the plaster mold - one for the front side, the other for the occipital (or one for the right half of the face, the other for the left). Gypsum is diluted to the thickness of sour cream (one parsley head goes from 0.5 to 1 Kg gypsum). First, only one side of the model is poured with plaster solution (up to the barrier), bringing the thickness of the pouring to at least 1.5 cm... For greater strength, the thickness of the mold is sometimes brought to 3 cm... When the plaster has set well, but not yet hardened enough, the barrier is removed and the second part of the head is poured with plaster. To do this, first, the upper edge of the first half of the mold is greased with fat, that is, that surface of the gypsum that is in contact with the barrier of plates. If this is not done, then during the pouring process, both halves may tightly connect, so that it will be impossible to separate them.

When the gypsum has completely hardened, with a sharp knife separate one half from the other and remove them from the clay model ( rice. 16).

The inside of the plaster mold is covered with shellac varnish. This makes it more durable and makes it easier to remove the papier-mâché.

When both halves of the plaster mold are ready, the doll's head is glued inside the mold in the same way as if the head was glued from the outside: first, a layer of paper moistened with water is laid, then four to five layers smeared with paste are glued (paper is also taken two colors). After drying, both halves of the head are removed from the mold, joined together, glued together and cleaned along the seam.

This is the easiest way to make papier-mâché. There are more complex recipes for increased durability. For those wishing to familiarize themselves with this issue in more detail, we recommend that you refer to the special literature on theatrical props.

Before painting the doll's head, papier-mâché should be primed with gesso. Levkas is prepared as follows: in diluted liquid carpentry glue (200 G glue for 1 l water), a little drying oil is poured in (one tablespoon per glass of glue), then finely sifted chalk or talc (preferably chalk in half with talc) is poured into it so that a not very thick doughy mass is obtained. The levkas obtained in this way is applied in a very thin layer on papier-mâché (the thick layer will break off). When the levkas is dry, the head is treated with fine emery paper (sandpaper) until a perfectly flat surface is obtained.

Only oil paints should be used to paint the head. Adhesive, gouache and others are impractical, they get dirty and wear off.

To prevent the painted head from shining, it is lightly powdered with talcum powder or chalk until it is completely dry. For the same purpose, oil paint is sometimes applied using the end of a hard brush to obtain a rough surface.

Hair, mustache, eyebrows, eyes are attached to the head before coloring, since they do not adhere well to the painted surface.

Doll hair is made from ropes, bast, silk or paper thread, fur, etc. The choice of these materials depends on the taste of the artist and the general manner of solving the doll. In other cases, the hair can be simply drawn or sculpted at the same time as the head, that is, depicted purely sculpturally.

Eyes are made from some shiny objects - pieces of glass, beads, buttons, etc. - or they just paint. But even in the drawn eye, some shiny object is often inserted into the place of the pupil.

In order to attach the eye to the head, two narrow slits are cut in its place. A piece of cloth with a button or bead sewn to it is glued into the eye socket, and the ends of the material, smeared with wood glue, are inserted into the cut slots and sealed from the inside.

If the eye cannot be sewn to the fabric, it is glued into a recess made for this in papier-mâché.

Before attaching the head to the glove, it must be adapted to the puppeteer's fingers.

The diameter of the doll's neck should correspond to the thickness of the puppeteer's finger (or two folded fingers). If the hole in the neck is too wide, it is narrowed by gluing in a cardboard tube (called cartridge). The finger should enter the neck to the middle of the second joint. At the head, which does not have a neck, a round hole is cut from below, into which a cartridge for the puppeteer's fingers is glued.

The glove is attached to the outside of the neck so that the glued fabric does not peek out from the collar of the suit. The corresponding part of the glove is cut in such a way that it completely wraps around the neck ( rice. 17).

To the head that does not have a neck, the glove is attached as follows: a cloth circle up to 2 wide is sewn to the middle finger of the glove, approximately in the place where the middle of the second joint falls cm... After that, putting a glove on your hand, insert your finger into your head, and a cloth circle is glued to the bottom of the head ( rice. eighteen).

Hands

The hands - or rather, the hands - of a parsley doll are made of different materials and in different ways, depending on the tasks that are set for the doll. Hands can be hard, made of wood or papier-mâché, they can be soft, that is, sewn from fabric or jersey.

Rigid hands have two significant drawbacks: while playing, they knock unpleasantly against one another, or when touching something hard, and do not take the object well.

Soft hands are cut in the form of a mitten, sewn, turned inside out, lined with cotton wool and sewn along the lines of the fingers. Sometimes each finger is made separately, and parsley is often limited to a four-fingered hand, since from a distance the viewer does not see how many fingers the doll has.

Soft hands are sewn directly to the glove, so that the puppeteer's finger enters the doll's hand, reaching approximately the middle of her palm. With these hands, the puppeteer acts with the greatest confidence. He easily picks up objects, as he does it almost directly with his fingers.

However, in a doll dressed in a costume, such a hand is not visible enough, because it is only slightly longer than the puppeteer's finger. To lengthen the doll's hand, it is attached to a cardboard cartridge, which in turn is sewn to the glove ( rice. 19). But it should be borne in mind that too long a cartridge does not help, but, on the contrary, constrains the doll's gesture. The hand of a parsley doll does not have a fold at the elbow, therefore, an overly elongated hand sticking out forward or sideways makes an unpleasant impression and the expressiveness of the gesture is lost.

Hands on a wire frame are most comfortable. Soft wire (iron, copper, aluminum), curved along the contour of the doll's hand, is attached to the cartridge in one of the ways indicated on rice. twenty... Then the frame is covered with cotton wool and sheathed with fabric or knitwear. These arms can be shaped to any shape by bending and unbending the frame.

Usually a parsley doll holds an object with both hands. With a wire frame, the doll can hold the object with one hand ( rice. 21), although she will not be able to take it in front of the audience, for this special devices are needed.

Legs

Parsley dolls do not always have legs. The doll is placed with its feet on the screen only in very rare cases, since the actor's hand can be seen in this case. In some cases, the actor's hand can be more or less successfully disguised with a long dress or cloak (the hand passes between the lining and the top). But this is permissible, of course, not in every play and not for every character. In addition, a doll with its feet on the screen conveys a person's gait worse than if it does it conditionally, with the help of body movement.

Most often, the legs of parsley dolls exist so that the doll can play with them while sitting or lying down.

The lower part of the leg (up to the knee) is made of wood, papier-mâché or fabric stuffed with cotton wool. The upper, femoral part of the leg is a cardboard cartridge attached to the lower part and forming, together with it, a kind of knee joint. The legs (or pants along with the legs) are attached to the front edge of the glove (under the shirt).

The puppeteer's second hand controls the legs. To disguise it in the color of the suit, a sleeve is sewn, wide enough for both of the actor's hands to pass through it. This sleeve is sewn to the back of the pants and to the back of the glove under the shirt ( rice. 22).

The legs can also be controlled using wires attached to the doll's heels (heels). Such legs can, of course, perform somewhat different movements than the legs, which are controlled from the inside with the help of the fingers.

Sometimes the legs are made separately and only protrude from under the costume in those cases when it is necessary during the play.

On rice. 23 depicts a doll that can stand on the garden bed (the front upper edge of the screen), walk, and also do various acrobatic numbers: bend in any direction, do "splits", etc. The costume of this doll is sewn with wide trousers - so that the puppeteer's hand can fit in each leg.

Parsley dolls depicting animals

With the help of parsley dolls, not only humans are often depicted, but also animals.

The general scheme of the device remains the same, however, each doll has its own characteristics, depending on what kind of animal or what kind of animal it depicts.

When the animal doll should look like standing on four legs, the cartridge is glued into the head not vertically, like a doll depicting a person, but almost horizontally.

The bodies of animals are sewn from fur, plush, velvet, knitwear, bikes, etc.

When using fur, it is necessary to choose skins with soft skin so as not to hinder the movements of the actor's hand. If the fur is suitable for a given animal in its nap, but differs in color, it can be tinted with aniline paint.

The use of natural fur of the animal depicted by this doll is not always successful. This is permissible mainly in cases where the animal itself and the doll depicting it do not differ greatly in size. So, if a doll depicting a bear is one and a half meters tall, then it is better to make it out of real bear fur. A 40-centimeter parsley doll made of bear fur cannot be made: a long pile will distort its shape, and the doll will cease to resemble a bear. In this case, it is better to make a bear doll from a tsigeyka or a beaver.

Velvet and plush imitate well the fur of animals such as a monkey, deer, tiger, etc. But, generally speaking, it is not necessary that the material taken for the body of an animal accurately reproduces the natural appearance of the skin of this animal. A well-made knitted dog or a cow from a bike also looks quite true on the screen.

In some cases, a bike or jersey is trimmed with fur pieces or tinted with aniline paint for greater expressiveness. The head of the animal is painted or pasted over with the same material from which the doll is made.

Animals such as a dog, a bear, a monkey are most often made as simple parsley. However, there are many animals that cannot be portrayed with hand puppets and must be made in a different way (see Chapter 3).

goose (rice. 24). The doll is sewn from jersey. The beak is made of papier-mâché. The head is slightly padded with cotton to keep its shape better; the body, except for the neck, is completely stuffed with cotton wool. The puppeteer's hand is inserted into the doll's head: the thumb is inserted into the lower jaw, the index and middle fingers into the upper. Thus, the hand of the puppeteer, covered with jersey, gives the impression of a moving goose's neck.

Snake (rice. 25). The head is made in the same way as for a goose. The torso is controlled with a stick, which the puppeteer supports with his other hand.

Frog (rice. 26). The body is sewn from fabric, best of all from silk, well imitating the shimmering skin of a frog. The mouth is made according to the same principle as that of a snake and a goose, but in such a way that it can be controlled with the index and middle fingers. The thumb and little finger are inserted into the front legs of the doll. The hind legs are made with a bend at the knee and are connected to the body at hinges, forming movable joints. A wire fork is attached to the hind legs, with the help of which the puppeteer controls them, depicting the jumping of the frog.

Introduction

"Theater of Petrushka" is a theater whose puppets are worn on three fingers of the hand - like a glove. The birth of the Petrushka Theater dates back to 1589. This beginning was laid in Florence, gradually wandering around all states. Parsley is moving to our country. The comic figure Petrushka was born in Russia in the 17th century.

All over the world for a long time there have been established whole "actions", which in the old days gave a magical meaning. With the help of dolls, they influenced the gods so that they would send a rich harvest, helped in the fight against the elements.

In Russia, everyone knows, for example, the rite of burning a straw effigy - this symbolizes the arrival of spring, where a doll also participates. Each nation had its own rituals, its own games, where dolls participated. Before baptism in Russia there was idolatry, paganism, all sorts of buffoonery was forbidden in order to avoid “sacrilege”. And playing with a doll was, in the opinion of the church, a great sin. And only at the end of the 17th century, under the humane rule of Tsar A.M. Romanov was allowed at court and buffoons to perform with Petrushka.

But years passed and Petrushka was again removed from the scene - the tsarist government banned it. But no persecutions, terrible decrees could destroy the people's love for the puppet theater. Persecuted Petrushka became a national hero. Therefore, he probably always wears a red cap on his head and wields a baton.

Nowadays, there are a lot of puppet theaters, especially in large cities. Honored Artist of the Puppet Theater S.V. Obraztsov laid the foundation for this great work.

Puppets can be of various types: puppets, canes and shadow theater, but the simplest in its constitution for children is a glove puppet. You can make such a doll yourself or with your parents.

How to make a parsley doll yourself

Where to begin?

The simplest doll consists of a calf - a shirt, a head and handles. Body - the shirt is cut on the hand of the puppeteer from matter (Fig. 1). The head can be made of different materials: from wood (it is best to use linden), from bread or plasticine, from a plastic ball. But usually the head is made of papier-mâché. Not everyone can cut a head out of wood; here you need to have the skills of a professional carver.

Ball head

Any plastic ball or ball will do. It is only necessary to cut a hole so that the ball can be easily put on the index finger of the puppeteer's hand (Fig. 2).

Stucco head

You can sculpt a head out of bread or plasticine. It can be not only the head of a person, but also the muzzle of a dog or a fox. Children very expressively sculpt all kinds of animals.

A cartridge made of cardboard is attached to the head so that the puppeteer's index finger can easily enter it. Such a head is worn on a body - a shirt. The handles of the dolls are made of cloth or leather, as, for example, in the Dog in Figure 3.

Paper head

A paper head is the quickest and easiest to make. Thick paper is cut into strips and wrapped around the index finger of the hand, wearing a glove or a glove-shaped shirt. A strip of paper is wound in several layers and a cylinder head is obtained (Fig. 4). In this case, each layer of paper must be glued, and the tip of the strip must be fixed with the back side with glue. A hat or a wig made of thread, foam rubber or paper is made onto the cylinder (Fig. 5). The head is painted; this is Parsley himself, then the nose is glued (Fig. 6). Then the head is painted with paints or felt-tip pens or sludge and applied with colored paper.

Papier-mâché head

To make papier-mâché, you need to have:

Flour paste and PVA;

Wrapping paper and newsprint;

White calico;

A board with a peg.

The doll's head molded from plasticine is strengthened on a board with a peg (Fig. 7).

Cover the head with petroleum jelly and begin to paste over it with small pieces of paper, alternating layers of newsprint and thick wrapping paper.

The first layer is applied without glue from a newspaper soaked in water. The pieces are placed in small strips so that the edges of the strips are on top of each other.

The second layer - made of wrapping paper - is also put in small pieces, but already impregnated with paste.

Usually they put six layers, but more is possible - for strength. To dry the papier-mâché head, you should wait a day.

The dried head is divided into two halves: facial and occipital. Mark a line with a pencil and cut the papier-mâché with a sharp knife. Carefully remove the halves from the plasticine mold, if necessary, with a sharp knife, and glue them with strips of coarse calico. PVA glue is used for gluing.

Pieces of coarse calico are cut into even strips 4-5 cm long and 1 cm wide. These pieces are glued from the inside of the mold along the edges of the occipital parts so that the strips when folding the halves come together “in a lock”, like fingers of two hands (Fig. 8). When the glue dries up, you can paste over the head with coarse calico and apply.

Head applique

Applique head of a person or animal is an artistic and very responsible work: the image of a doll is born.

Figure 9 shows the general form of a person, but who is a girl or a boy, or maybe an old grandmother? It all depends on the imagination of the artist who he wants to create. Let's say it will be a boy's doll. Then the head must be pasted over with light pink jersey. Apply hair from light velvet. Choose blue buttons for the eyes. Mark the lips with a scarlet ribbon. You will get a face as in Figure 10. We put the boy in a blouse - the doll is ready. Thus, a human doll is created. Now let's move on to the animals. Let's try to make a fox.

To work you need:

Prepare a head from papier-mâché;

Sew a calico glove for a calf;

Stock up on red and white fabric (velvet or fur, any fleecy fabric will do);

For the muzzle, you need to take buttons (eyes), pieces of black velvet, strips of white satin, for the nose - pieces of black leather.

IIorder of work

The papier-mâché head is fixed on a machine with a peg and pasted over with white coarse calico. If the fox is dressed in a bright sundress, then its entire muzzle is applied with an orange or red cloth. The nose is pasted over with leather or black satin. The main thing is the expression of the eyes. To make the eye more expressive, it is necessary to place a gasket under the buttons of the eyes. Cut out the pads for the eyes from paper and attach them to the muzzle - this way the desired size is determined. White eye-pads are glued onto a black satin - this is how a black border around the white eye-eye is obtained. This gives the eye clarity and expressiveness.

The shape of the eye is very important: the eye is round - stupid, narrow - crafty, elongated upward - naive (Figure 11). Instead of buttons, you can use leather, then paint it with varnish. The skin is comfortable in that you can cut out the pupil of any shape and size. When working on the makeup of the head of an animal, try to “humanize” it. For example, for a wolf, arrange the hairs on the head so that it looks like a hairstyle. The bear can have sideburns and eyebrows - it will resemble an old man. “Humanizing” animals in a puppet theater is a common occurrence, because they speak like people. The naive children's eyes and forelock make the little bear cub a boy. To fox, to make the face more expressive, they add black to the tips of the ears, and white to the forehead and chest.

Head on a hapite

The dolls mentioned above (“Upcoming” dolls) are usually made without legs. They are called Gloves. The skeleton of such a doll is three fingers of a human hand. On the finger is the head of the doll, and the thumb and middle fingers are the arms or legs of the doll. If the head is small, then it is very easy to operate the doll with three fingers. But a papier-mâché head, and even a very large one, like, for example, a bear, will not hold on to a child's finger, even if you use a paper cartridge. Hapit comes to the rescue. It is a wooden shaft with a comfortable, rounded grip. It is easy for the puppeteer to hold the doll on such a gap (Figure 12). But the paws of such a large doll are not controlled by fingers, but stuffed with cotton wool, they just dangle on the sides of the body.

Conclusion

As already mentioned. Parsley can be made from any material at hand. These are paper, various scraps, cotton wool, leather, wool, etc.

The child has a desire to play from the very beginning. Filling a child with beautiful foreign toys is good, but it is not enough. Sometimes a simple doll wrapped in a blanket is more expensive than any luxurious doll.

Thus, having this material at hand, you can teach the child himself to make dolls - parsley and put them into action, that is, perform on the screen with a performance in a circle or at home, improvising in front of parents or playing with fairy tales.

Bibliography

1. Ablynin, B. Amateur theater director [Text] / B. Ablynin. - M., 1991.

2. Belyushkina, I.B. Theater where children play [Text] / I.B. Belyushkin. - M., 2001.

3. Demeni, E. Theatrical doll and its device [Text] / E. Demeni. - L., 1991.

4. Karamanenko, T.N. Puppet theater for preschoolers [Text] / T.N. Karamanenko, Yu.G. Karamanenko. - M., 1982.

5. Invert, G.I. Homemade products from textile materials [Text] / G.I. The inversion. - M., 1990.

6. Smirnova, N.I. And the dolls come to life [Text] / N.I. Smirnov. - M, 1982.

7. Smirnova, I. Amateur theater [Text] / I. Smirnova. - M., 1995.

8. Solomonik, I.M. Dolls take the stage [Text] / I.М. Solomonik. - M, 1993.

Doll Petrushka is a very ancient character of fairground booths. Any folk festivals and festivities were not complete without his cheerful invitations. The performances were often thought up on the go, it was pure improvisation, which the audience really liked.
The Parsley doll is essentially a glove doll that is worn on the puppeteer's hand and consists of a head and a three-fingered glove, which is the body and arms.
The fingers under the glove can be positioned in different ways:

The glove should fit snugly on your hand. To sew Parsley with your own hands, you first need to outline your hand on a piece of paper, folding your fingers in a "play" position (a pattern will be cut out of it). Of the materials, preference should be given to soft tissues (calico, flannel). We make the head from papier-mâché. Pre-sculpt a shape from plasticine with a nose, lips and neck, into which the index finger will enter to the end of the second phalanx. Lubricate the plasticine blank with Vaseline and glue the form with pieces of paper (newsprint or wrapping paper) dipped in paste: several layers of paper, then a layer of gauze and more layers of paper. Let it all dry (it will take 2 days to dry). When the head is dry, we cut it in half into the front and back of the head and remove it from the plasticine. Then we glue both halves with PVA glue. When it dries up, cover the head with paint (water-based emulsion or watercolor). Draw the eyes, mouth and cheeks. You can stick on hair made of wool or tow.

We sew the glove according to the pattern. The size of the doll should be 30-40 cm for an adult hand. The head takes 6-8cm:

We sew the hands from knitwear and fill them with cotton wool or padding polyester, but leave an empty space in the wrist and sew them to the glove. The finger should go inside the palm to the middle:

The fingers on the hand are located asymmetrically, and therefore, in order to make the doll's hands of the same length, we make cardboard tubes-cartridges. The thumb holder will be longer. Put on the Petrushka doll costume on the glove. We sew the costume from soft fabrics so that they do not interfere with the gesticulation of the doll during the presentation.

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