Which kind of puppet is pinocchio

A poor woodworker, Mastro Master Geppetto a diminutive of Joseph, carpenter and celibate father par excellence , has the idea to sculpt a moving marionette puppet and to take it along his routes to make his fortune. From his colleague Mastro Antonio called Cherry because of his red nose he receives a wood log that the latter was unable to work.

Indeed, this block of wood presents strange characteristics from the start. Master Geppetto begins to fashion his piece of wood, giving it the appearance of a child. The puppet is ready to confront life. Marvelling at the extraordinary abilities of his Pinocchio to speak and walk, Geppetto decides to send him to school, making sacrifices on his behalf as if for his own child.

As the tale proceeds, more eerie elements are introduced: many gothic night scenes; Pinocchio's hanging; the funereal images that surround the dying little girl with blue hair.

Yet the eeriness is balanced by the recognizably everyday characters and the open, cordial and "grandfatherly" tone of the narrator's voice, who recounts the amazing events in a very concrete and agile Florentine prose. The cordiality and sprightliness of the book's tone, the vivacious dynamism of the narration that carries Pinocchio ever onward through varied adventures, and the very ancient and recognizable themes of the voyage as initiation into maturity, the overcoming of hardships, and the search for a mother's love: all of these positive elements account for the book's mainstream appeal.

Pinocchio 's narrative verve and its darker and more transgressive qualities have appealed to numerous contemporary writers, among them, prominent Italian authors Gianni Celati, Umberto Eco, Luigi Malerba and Giorgio Manganelli, as well as the American writer Robert Coover. Filmmakers have also been attracted to the tale, and none so successfully as Walt Disney, whose animated version I shall consider in some detail.

Before turning to Disney's film, however, I want to look at contemporary rewritings of Pinocchio. An example of such experimental fiction is Gianni Celati's Le avventure di Guizzardi , published in , which echoes in its title Collodi's book, Le avventure di Pinocchio. The similarity does not end there.

Celati admired the picaresque and transgressive qualities of the puppet's adventures, and his book, although not at all an explicit rewriting of Collodi, also recounts the mostly negative adventures of young Guizzardi, who is kicked out of his home by his frustrated parents because of his unwillingness to work and settle down. The novel is highly episodic, as is Collodi's tale, and it is filled with menacing characters who use and abuse Guizzardi time and again.

The choice of a children's book as implicit model was very significant, for it indicated a move away from high cultural models toward popular forms, a sort of return to storytelling as contrasted to the more dominant trend of realist novels that had come to define Italian prose fiction by the s.

Celati may also have been indirectly inspired by Calvino's first novel, Il sentiero ai nidi di ragno The path to the nest of spiders , which was written shortly after the end of World War II, and which looked to Collodi's tale not only for the name of the boy protagonist, Pin, but also for the book's fairy tale-like, picaresque plot structure. Both Calvino and Celati, who ended up becoming close friends and sometime collaborators, often emulated the structural and thematic elements to be found in the tale tradition, whether written or oral, and Collodi's tale was a prime example of that tradition.

Already before the publication in of Celati's wonderfully inventive, Pinocchio-like tale, however, another Italian writer had revealed his fascination with Pinocchio in articles that appeared in the newspaper L'Espresso in and Giorgio Manganelli, who died in , was one of contemporary Italy's most original writers.

Deep into Jungian psychological models, a translator of Poe, the author of numerous books of extraordinary rhetorical complexity and thematic intensity favorite themes include death, anguish and the dangers of love , and an expert critic of Baroque literature and of so-called minor writers of England and Italy, Manganelli was fascinated by the puppet child whose story held deep mythic and psychological resonance for him.

He collected Pinocchio figures, and when I interviewed him in the mids at his apartment in Rome, I was amazed to see that his study was completely filled with large and small statues of the puppet. Pinocchio: un libro parallelo Book cover of Giorgio Manganelli's Pinocchio: un libro parallelo. After publishing his articles on Collodi's puppet in and , Manganelli wrote a book called Pinocchio: un libro parallelo that appeared in At once a retelling of and a commentary on Collodi's tale, the book draws out the symbolic, allegorical and enigmatic qualities of the tale and concentrates much attention on the mysterious figure of the Blue Fairy, who is a bringer of both life and death: a seductive and dangerous female presence who is tied to the puppet as another being on the margins between the real and the unreal, power and abjection, conformity and transgression.

In the newspaper pieces, which are now conveniently located in the collection of Manganelli's essays entitled Laboriose inezie , Manganelli writes of Pinocchio as representative of the ancient figure of the "trickster," who is present in many cultural traditions. He is solitary and must carry the weight of his transgressive role without being one with the society that assigns him that role.

Manganelli further points out that the puppet's flight from home is also a journey toward something, and that "something" is his death as puppet trickster and rebirth as integrated human boy. Manganelli comments: Killed by good actions, Pinocchio awakens as [in Collodi's words] "a boy like all others.

That casual phrase touches the infantile dilemma: to accept both difference and uniqueness of self, or to lose both. Pinocchio gives up his uniqueness as a puppet; as a human he will have a name but he will be anonymous.

As a puppet he was deformed, lacking in some sense, but let's not forget that his "deformity" was also a condition of freedom. Pinocchio con gli stivali Book cover of Luigi Malerba's Pinocchio con gli stivali.

Malerba, another writer tied to the experimental school of the s and s, is a highly successful author of adult fiction, but he has also written many books aimed at young readers. His Pinocchio con gli stivali recounts the story of the puppet, who this time flees not from his home but from his own tale in order to hide in other famous fairy tales, motivated by his desire not to become a good little human boy.

Pinocchio goes into the tales of Little Red Riding Hood, Cinderella, and Puss-in-Boots, trying in every case to get the characters to modify their stories and to include him. But they are all very conservative types and insist that what is written is written, although Pinocchio, rebel that he is, says that stories belong to everyone and can be changed according to how someone might wish to tell them. Malerba, like Celati and Manganelli, is clearly on the side of the transgressive puppet rather than the good little human boy; furthermore, he uses Pinocchio's crossing of story boundaries to say something important about the rules that govern storytelling and the ways in which those rules can be bent or broken in favor of inventiveness and originality.

Then there is Umberto Eco's "Povero Pinocchio! In this class, Eco had his students do a number of exercises in the form of linguistic games. The Pinocchio exercise was to write a summary of the tale in ten lines using only words beginning with the letter "P. Discussion Following Umberto Eco's exercise, create a summary of the tale in ten lines using only words beginning with the letter "P.

What themes are consistent with your classmates' summaries, and what new themes do you see emerging? The exercise was to help students improve their vocabularies, but it also turned out to be a wonderful implicit commentary on the tale's meaning.

With their suitable initial letter, the words "poverty" and "penury" are rightly highlighted in the students' versions; also, the "deus ex machina" function of the Blue Fairy is emphasized in phrases like "provvidenziale pulzella" providential puppet , and the final lines are particularly witty: Paradossale! Pupazzo prima, primate poi? Puppet, primate? Proteoform pest, perennial Peter Pan, proverbial parable practically psychoanalytical! Pinocchio's tale was one of the few stories that Eco could count on being known by all of his students, and his use of it shows how deeply it has penetrated into the collective consciousness of Italians, even if, as is so often the case with classics, many admitted to not ever having read the original book in its entirety.

Coover's "Pinocchio in Venice" My last few comments regarding written versions of Pinocchio have to do with a fascinating novel by American writer Robert Coover entitled Pinocchio in Venice , which was published in Coover, who has won many accolades for his original, often experimental fiction, is the author of the well-known collection of stories Pricksongs and Descants and several other novels and story collections.

Pinocchio in Venice is not only a postmodern tour de force , but it also reveals Coover's very deep knowledge of the original Italian tale, and of other aspects of Italian culture such as the Commedia dell'Arte, the history of Venice, and especially the Venetian carnival tradition.

The aged Pinocchio relives all of his dangerous adventures as he slowly turns back into a wooden puppet. The book is raucous and bawdy, like a Commedia dell'Arte performance, but it is also a philosophical meditation in fictional form on what it means to be human.

The choice to focus on the Blue Fairy as lost lover and mother is, I think, responsible in great part for the intensity of the book, which never strays for long from being an allegory of life as a voyage from maternal matrix or womb to dissolution or tomb. And the Blue Fairy, as in Manganelli's reading of her, is a powerfully protean figure, sometimes a silly, gum-chewing, big-breasted American girl named Bluebell, sometimes the lovely ethereal presence of the little girl with blue hair, sometimes a terrifying inhuman monster.

All of her guises come together in her final meeting with Pinocchio who, on the verge of death, finally understands their bond as monsters, as beings excluded from full human existence, he as a piece of wood at heart, she as the lack that women have represented through the ages.

It is a wonderful book, made even more enjoyable by a knowledge of the original tale's complexities that are animated once more in this thoroughly postmodern Pinocchio.

Many filmmakers have wanted to bring Collodi's tale to the screen, including Federico Fellini and Francis Ford Coppola. Neither ever did, although Fellini's final film, La voce della luna , starring Roberto Benigni, has overt allusions to the puppet's story. Other directors did make their versions of Pinocchio , whether in animation, with live actors, or a mix of the two, and there are at least 14 English-language films based on the tale, not to mention the Italian, French, Russian, German, Japanese and many other versions for the big screen and for television.

Japanese anime cartoons owe a particular debt to Pinocchio, for Astroboy, one of the most popular figures of the genre, is based on the Italian puppet. Although Collodi did not provide a detailed description either of the appearance of his characters or of the settings, from its birth in serial form the tale has stimulated an extraordinarily rich illustrative tradition that in turn has nourished numerous cinematographic representations.

Director and actor Roberto Benigni's film version of the tale, in which he will star as the puppet, is currently being awaited with great anticipation. In an interview given February 7, , with the founding editor of La Repubblica , Eugenio Scalfari, which is now available on the newspaper's website, Benigni speaks with ecstatic enthusiasm about the project that has been a dream of his for many years. He did not read Collodi's tale until he was 20 years old, he says, nor could his parents have read it to him when he was a child because they were illiterate Tuscan peasants.

But as a child Benigni was aware of the existence of the puppet nonetheless, because his mother would warn him that if he told lies his nose would grow like Pinocchio's and then Dante Alighieri would put him in Hell: Then one day in the piazza I saw a statue of Dante, and with that nose of his I thought that he was Pinocchio.

Later I found a sentence in the Convivio [a work by Dante] that says: "Truly I have been wood [a wooden boat] without direction, carried along by mournful poverty. With this humorous anecdote, Benigni makes clear just how strong a connection he perceives between the high-cultural reference par excellence--Dante--and Collodi's more humble but no less culturally important figure. The actor-director also comments on "how many beautiful things this puppet has caused to be written," mentioning the philosopher Benedetto Croce who wrote that Pinocchio's essence is the "wood of humanity" , Calvino, Antonio Gramsci, writer-critic Pietro Citati, Marxist critic Alberto Asor Rosa and Giorgio Manganelli, the last of whom he calls "the funniest pinocchiologist of them all.

If anyone can succeed in bringing Pinocchio to full filmic life with accuracy and verve, it is this highly talented and sensitive fellow Tuscan, who is already known affectionately as "Pinocchio" for his antics on and off the screen. The pre-human puppet in the mixed animated-live action sequences is the creation of Jim Henson's Creature Workshop of Sesame Street fame.

The New Adventures of Pinocchio , a sequel, was released in October However, August completely turns to wood before her eyes. It is not known whether August's life as Pinocchio had him returning to normal was regained after the curse was lifted.

In the second season premiere, August is seen still laying in his bed at Granny's Bed and Breakfast, and he blinks. Later, Marco is putting up missing posters, believing his son to be lost and still a child. After an uproar in which many citizens, Henry Mills reveals August's true identity to Marco. Marco visits August's room in Granny's but discovers an empty bed. It is revealed later on that after the curse was broken, August was able to move again but was trapped in his wooden form, much like when he was as a child.

He had been living in the forest in a trailer, afraid of how everyone, especially Marco, would think of him. Mary Margaret Snow White finds him while practicing archery, having accidentally hit him with one of her arrows. He tells her to keep the encounter a secret because of his guilt for selfish actions, which she promises.

However, he is found by Tamara , a woman whom he stole money from to cure himself in Hong Kong, who offers him the cure that she managed to take back from him when he robbed her. Deciding to get the cure, August drives out of Storybrooke to Tamara's apartment in New York using her car. Just as he leaves, he then finds a photo of Tamara with her grandmother, the valuable object she was supposed to give the healer along with the money to receive the cure for her cancer.

Remembering the day when he came back to find the healer dead, August realizes that Tamara was the one who killed him and was trying to get August out of Storybrooke. August rushes back to Storybrooke to warn Emma and the others but is confronted by Tamara herself.

He reveals to her that he knew she did not have cancer but was actually after the cure to discover the magic within it. She quips at this and tells him that he was a weak and selfish man who needed the cure for himself, but August defends himself stating that he never needed magic, but by correcting his mistakes he will break the curse and will start by stopping Tamara. Tamara, in response, shocks him with a taser before he attacks.

In his last few moments, August trudges quickly to the others to try and warn them. He is caught by Marco as he falls, as father and son are finally reunited. August apologizes and admits for all his selfish deeds, but finally dies as he is about to tell the group of Tamara's treachery. However, Henry notices that August died admitting his mistakes and doing what he could to help the others, making him selfless, brave, and true. This meant that August could receive a second chance and be revived if this was true.

The Blue Fairy quickly tests this, and August is revived, but instead of becoming his own self he reverts to his human form as a child, Pinocchio. In the fourth season, the Evil Queen , infiltrating the villains, learns they want to find the Author.

On their orders, she kidnaps Pinocchio, and with Maleficent, they take him to a cabin in the woods, where Rumplestiltskin reverts the boy into August with his dagger, hence returning his lost memories so that they can torture him for information about the Author.

Under questioning, August states he obtained research about the Author from the Dragon, but Rumplestiltskin suspects he is lying and steals a potion from the nuns to force him to tell the truth. After being force-fed the concoction, August briefly reverts to wood, which causes his nose to grow for every lie he tells.

Eventually, he admits the Sorcerer trapped the Author behind a door. Rumplestiltskin demands to know where the door is, and although August has no idea where it is, he insists Regina knows about a storybook page illustration of the door. While Rumplestiltskin believes the door is in another physical location, in truth, the door on the page itself can be opened to free the Author, although August does not say this.

However, since August does not know that Henry currently has the page, the answer he gives the villains about the door's whereabouts is regarded as truthful and does not trigger the potion's lie detector. Once Regina and Maleficent leave with Rumplestiltskin to search the Sorcerer's mansion for the door, Cruella stays to guard him until Emma Swan and her parents take her out to rescue him.

They are stopped by Ursula, who relents after regaining her singing voice and reconciling with her father Poseidon. While resting at the loft, August learns Regina is actually spying on the villains, and he reveals the door in the illustration can be opened to free the Author. As August's condition deteriorates due to the recent magic used on him, he is taken to the fairies, where the Blue Fairy looks after him.

While Emma continues to worry about August, Captain Hook becomes jealous over her concern for him. To reassure him, she elaborates on her difficulty in making friends after shutting out her first friend, and August has been the only exception since then.

After showing August the discovered key to the door illustration, she expresses interest in asking the Author questions about her story. However, there's no guarantee this Author wrote her story as August reveals there have been many Authors over time; each chosen by the Sorcerer and his Apprentice to record tales in the book. With the last Author, as August explains, he began manipulating stories, so the Apprentice imprisoned him in the door illustration. Despite this, Emma recognizes the Author can still alter the course of things and she unlocks the door with the key.

The Author, Isaac, is freed, but before she can ask anything, he flees. In the video game adaptation of the film, Pinocchio lives out mostly the same role as the film, traveling through the world filled with temptations and battling various forces.

Pinocchio makes a cameo at the beginning of the game. His image is the first of the Disney heroes to be found on the door to the storybook. However, unlike the other characters, his world is not featured anywhere in the game other than his friend Jiminy Cricket helping the player throughout the game. In the original Kingdom Hearts , Pinocchio's world was destroyed by the Heartless , separating his family. Jiminy ends up in Disney Castle, a world ruled by Mickey and Minnie Mouse, whilst Geppetto's whereabouts remain unknown.

Jiminy is able to set him straight after learning the wooden boy has been misbehaving without his conscience by his side. Pinocchio then explains his troubles in trying to find Geppetto, to which Jiminy replies by offering to have Sora and company search whilst Pinocchio stays in Traverse Town where it's safe.

Later on, after the heroes are eaten by a wandering Monstro the Whale while traveling in their Gummi Ship, they find Pinocchio trapped inside as well, along with Geppetto, who's revealed to have been trapped within the monstrous whale the whole time.

The reunion is short-lived as Pinocchio soon runs into Riku and is captured by the Parasite Cage Heartless in Monstro's Bowels after wandering off from Riku. Sora and company travel through the creature's body to rescue him, but after the Parasite Cage spits Pinocchio out, Riku takes him hostage in the hopes his heart could revive Kairi , despite pleas by Geppetto to give Pinocchio back.

Sora and the others chase Riku to Monstro's Stomach to rescue Pinocchio, eventually succeeding when Riku retreats as the Parasite Cage returns for another fight and is defeated for good, as Pinocchio fled to give Sora and the others a chance to face the Heartless without him being caught in the crossfire. After being freed from the whale, Geppetto and Pinocchio take residence in Traverse Town, along with other characters who've unfortunately lost their worlds, being provided a house by Leon, and supplying Sora with Gummi Ship blueprints over time as he defeats more Heartless.

After the primary antagonist of the story is defeated and the worlds are restored, it can be assumed Pinocchio and Geppetto returned to their rightful home. The end credits show Pinocchio having been made a real boy and celebrating as Geppetto laughs with pride. Pinocchio also appears in Kingdom Hearts: Chain of Memories as a figment of Sora's memories and in Kingdom Hearts II during a flashback at the early stages of the game.

See below how to play with this awesome marionette made in the traditional way : This Pinocchio stands roughly 14 inches tall. The selection is really huge ; Please, note that each marionette is an original hand-made piece of art and it may slightly differ from the pictures above.

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