PETRICA KEREMPUH − HERO OF POPULAR PUPPET THEATER AS THE PIONEER OF ARTISTIC PUPPET THEATER

Rad analizira početak umjetničkog lutkarstva u Hrvatskoj, preko glavnog junaka prve predstave neodvojivo vezanog uz popularno lutkarsko kazalište. Riječ je o Petrici Kerempuhu kojega je 1920. godine Teatar marioneta lutkarski oživio u predstavi Petrica Kerempuh i spametni osel, po tekstu Dragutina Domjanića. Nakon upoznavanja s pokretačima i idejom Teatra marioneta te sa samim tekstom, rad se usmjerava prema naslovnom liku, stavljajući ga u odnos s dugom tradicijom popularnih lutkarskih junaka od Pulcinelle do Petričinog najbližeg rođaka Kasperla. Uz to što pronalazi zajedničke karakteristike i spone poput duhovite pučke mudrosti i snalažljivosti te kritičke i satiričke oštrice, rad uočava i točke razdvajanja: čvrsto oblikovanu strukturu teksta, netipičan razvoj Petrice, njegovu vizualnu dopadljivost, svijest o jezičnoj pripadnosti, ublaženu agresiju, motivirane sukobe i razvoj likova. Tim razlikama rad ukazuje na pomak od popularnog prema umjetničkom lutkarstvu. Spoj popularnih i umjetničkih elemenata pokazao se dobitnim te je predstava Petrica Kerempuh i spametni osel doživjela uspjeh kod publike i kritike, postavivši se čvrstim temeljem umjetničkog lutkarstva u Hrvatskoj. Teatar marioneta, kako rad kasnije pokazuje, ubrzo je napustio svoj idejni koncept, podrezavši samome sebi umjetnička krila, a slična sudbina zadesila je Petricu Kerempuha koji je u kasnijem retrogradnom razvoju minoriziran kao lik.This paper analyzes the beginnings of artistic puppetry in Croatia, through the titular hero of its first play, who is inextricably linked to popular puppet theater. The hero in question is Petrica Kerempuh, who was brought to life in puppet form in the 1920 staging of Petrica Kerempuh i spametni osel by Dragutin Domjanić. After introducing the initiators and idea of Puppet Theater, as well as the play itself, the paper focuses on its title character, contrasting him with the long standing tradition of popular folk puppet heroes from Pulcinella to Kasperle, Petrica’s nearest cousin. Along with finding their common characteristics and links, such as the humorous side of folk wisdom and cunning, as well as their critical and satirical edge, the paper notes and lays out the following points: the rigid structure of the text, Petrica’s atypical development, visual appeal, awareness of his linguistic leanings, moderated aggression, motivated conflicts, and character development. The paper uses these differences to highlight the shift from popular to artistic puppetry. The merger of popular and artistic elements proved to be a winning combination, and the play Petrica Kerempuh i spametni osel was well received by both public and critics, thus cementing in the firm foundation of artistic puppetry in Croatia. Puppet Theater, as the paper goes on to show, quickly outgrew its initial concept, and clipped its own artistic wings, while a similar fate would befall Petrica Kerempuh, who would go on to be reduced to a minor character through retrograde development