Téshànian silhouette theater

Vynx Rubin peered out from behind the stage, trying to gauge the mood of the audience sitting in front of the closed curtain. As always, there were many children there, their shining eyes eagerly awaiting the heavy fabric to finally be raised. Some in the back rows laughed, and Vynx thought back to his first performance. After that, there was nothing he longed for more than to be part of such a magical spectacle.
With a faint squeaking sound, the veil was lifted. As the room fell silent, most of the children opened their mouths and gazed wide-eyed as they admired the mystical silhouettes of the stage setting—a city with many ornate turrets—played with light and shadow. "Ahs" and "ohs" danced across their faces, and when the first notes of a harp sounded, Vynx sensed it was going to be a good performance.

The art of Téshànian silhouette theater has existed since the 11th century AD and developed from storytelling puppeteers or puppet theaters who traveled from town to village or from fair to festival, delighting fairyelves of all ages with their stories.
The original form captivates with magical lighting effects and beautiful puppets made of intricate paper cuts, ranging in design from simple to extravagant. The artists are highly respected, and some have even won the award for Best Paper Cut Artist at the annual Shíshomkùs-Laí theater festival.

Sâlina & Témi, puppets of The wondrous city of turrets
by Blue Fairy 74 - Midjourney-Collage

From Design to Silhouette

In addition to paper cutouts, various forms of silhouette theater exist today. Smaller theaters use delicate paper cutouts that are moved by puppeteers. The larger the stages become, the larger and less elaborate, yet still impressive, the silhouettes are cut, or actors themselves become silhouettes thanks to the stage technology. Each form has its appeal, and regardless of whether the stage is small or large, many performances are a crowd-puller when the ensembles go on tour or present new programs at their home theaters.
After the ensemble has decided on a new play to be performed in the coming season, the paper cutout artist begins designing the puppets and stage sets. The success of a play depends largely on the silhouettes, which is why most artists guard their designs closely to ensure they don't fall into the wrong hands.

In the original form of paper cutouts, the individual puppet body parts are cut out of sturdy black cardboard. Larger puppets are additionally reinforced with thin metal plates or light wooden frames. For delicate additions such as clothes, hair, and accessories, thinner cardboard is used, which is then glued to the puppet bodies. In more elaborate "costumes," various ornaments are cut out, which some artists then back with colored transparent paper.
The body parts are tied together at the joints with yarn and wire to ensure they are easily movable. In pieces with real puppets, the silhouettes are moved by the magic of the air element by puppeteers standing to the right and left or above the levels of the stage set. Especially with larger puppets, a high degree of control of the element is required to prevent them from suddenly falling to the ground or swinging wildly back and forth.

Vynx took his hidden place on the stage, placing the small, cat-like silhouette on the gnarled wooden floor. A second, larger shadowy figure, played by Luona Vaelox, was already standing in his position, waiting for his companion.

The two puppets remained in the shadows until the harp music faded and the chirping of birds broke the silence. But when the fairyelves moved their wings to transmit the magic of the air to the silhouettes, they slowly began to float onto the stage.

Stage-Design of The wondrous city of turrets
by Blue Fairy 74 - Midjourney-Collage

Stage technology & stage design

Silhouette theaters have different equipment requirements depending on their size. Small stages have it a bit easier, as they require fewer materials, which also keeps costs lower. Larger stages, on the other hand, can stage more opulent scenes and integrate additional effects into their plays. However, the stage layout is generally the same, regardless of whether it's a small or large stage.
The stage consists of several levels arranged one behind the other, giving the audience a sense of dimension, depth of field, and scale. The first level, in front of the audience, is a continuous, very bright, translucent screen that already contains the front part of the black stage decoration. Behind this are further levels with stage sets, which are always spaced a certain distance apart so that the puppets can be played on each level. The stage sets transport the audience into the world of the play, and colored light filters can be used to create additional moods. Behind the last level are the light sources that bring the stage set and the puppets to life.
There are levels that are moved by special puppeteers, creating the illusion of rolling waves, trees falling or blowing in the wind, or growing plants. Of course, in addition to the puppets and the stage set, there are additional objects or other living beings that can move.

Plays & Ensembles

Although this art form originated in Téshàn, there are now several silhouette theater ensembles on other continents as well. The largest and best-known artist groups, however, come from Téshàn. The most popular genre for plays is, of course, fairy tales and myths, as they transport the audience back to times gone by or take them on a fantastical journey that helps them forget everyday life. Adventure stories and romantic comedies are also popular. Of course, the spectrum extends to other genres as well. However, many silhouette artists and ensembles lack the courage to perform such pieces for fear of being booed and their hard work being in vain. To ensure that the artists are continually faced with new challenges, the theme of the theater festival changes annually, and many plays are prepared specifically for this purpose and then performed throughout the season.

Well known Ensembles

Téshànian Comedians - Madmoiselle Uona's Magical Light
Magical Sparkling Shadows - Lupesian Magic Theater
Layidian Light Figures - Master Tâqíl's Star Theater
Brictaelgian Shadow Spirits - The Rainbow Shadows
Heavenly Imperial Silhouette Theater
Mythical Magic Puppets

Well known Plays

The Singing Dream Tree - Awakening the World
Elin, the Wizard of Heaven's Mountain - Leaf Storm
The Runes of the Elements - The Swirling Waves of the Sea
The Enchanted Dragon Wings - Six Mythical Rings
In the Forest of Seven Castles - Princess Swanneck
The Wondrous City of Turrets

The Wondrous City of Turrets

The play "The Wondrous City of Turrets"
is a fairy tale consisting of three acts with twelve scenes
and lasting approximately 90 minutes.
Characters include Sâlina (orphan), Témi (owl cat),
Liridon (captain), Elinda (queen), Minks (magician),
town and castle inhabitants (magistrate, cook, gardener,
baker, valet, priestess).

The story centers on the orphan Sâlina. In her dreams, she explores the turrets with the owl-cat Témi, each of whom has different abilities and thus guides the orphan toward her magical air-filled future, ultimately finding a new home among the city's inhabitants.

<sub>To read the first scene, hover over the image.
1. Scene from "The Wondrous City of Turrets"
by Blue Fairy 74 - Midjourney-Collage</sub>

1. Szene / 1. Akt

Stage setting: City with turrets in the background, sunset, birdsong greeting the evening.
Sâlina goes to the center of the stage and sits down. The owl cat jumps around her.
Sâlina sad: Do you hear the birds singing their evening greeting? They must have had a wonderful day, just like you!
Sâlina strokes the owl cat that snuggles up to her
Témi purring: Shoe-hoo-meow, meow-shoe-hoo
Sâlina: Yes, you purr nicely. You can at least catch a mouse. What I wouldn't give for a piece of stale bread, but now night is falling, and I won't find anything edible in the darkness. We should lie down on the soft moss...yawning... and sleep.
Sâlina lies down, the owl cat snuggles up to her. The light darkens and the moon and stars appear in the dark blue sky.
The moon moves a little further, the city appears in a purple-reddish light.
Témi wakes up and stretches, whispering: Sâlina, Meow-Shoehu
a little louder: Sâlina, Meow-Shoehu
still a little louder: Sâlina, we have to get up!
Sâlina jumps up with a start: Yes, Mother, I'm awake! rubs her eyes and looks at the owl cat
Témi: Finally! I thought you'd never wake up again.
Sâlina surprised: You can talk?
Témi sits down in front of Sâlina: Every owl cat can talk. But we only do it in emergencies and...
pauses and stands up
...this is an emergency. Besides, we have a mission. Can you see that city over there? That's where we need to go.
Sâlina irritated and scared: But, it's the middle of the night! I'm afraid! Don't you see how scary the city looks?
Témi adventurous: Oh, believe me, the city is full of wonders and it will take us on a dreamlike adventure.
Running on, hopeful and friendly: Now come before the night is over!
Both leave the stage.

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In response to the unofficial challenge of
Kiyomo and Blue (by me :)

12in12 - April: Kissed by the Muse