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442:, and Barbos, a large dog, who would drag Petrushka off the stage to end the play. Much of what we know about the Petrushka comedies comes from the folklorist Anna Fyodorovna Nekrylova, who analyzed the collected text of about forty Petrushka plays from the late nineteenth and early twentieth centuries. Nekrylova described twenty-three distinct scenes that make up the building blocks of a Petrushka comedy, which could then be combined (or omitted) as desired to fit the context of the performance. These variants include a scene in which Petrushka declares his intent to find a wife, Petrushka purchasing a horse, Petrushka with his fiancee, several variations of a scene with the doctor character treating Petrushka for medical injuries, a confrontation with a policeman, Petrushka meeting with a soldier, and several variations of Petrushka being dragged off stage by either the Devil or Barbos.
552:," he writes of Petrushka as a counterpart to "Pul'chinel," a companion who would take the stage as sidekick to the puppet whose antics would become his own. As others who came before and after him, Dostoevsky saw the Petrushka theatre as an exploration of Russian cultural identity. By the 1880s, Petrushka was the hero of these comedies, the sole constant among the moving parts of other characters and scenes. His popularity grew to the point of anachronistic texts from later periods retroactively referring to puppet shows of previous centuries
301:, in the vast majority of occurrences he takes the form of the latter. He typically appears as a small figure with exaggerated features, taking aesthetic cues from the clown performers upon which such stock puppets are originally based, while also allowing the important aspects of his appearance to be seen from an audience despite his small size. His face, for instance, is the largest portion of the puppet, with a proportionally smaller torso and legs that dangle beneath the structural body of the
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337:(дубинка). His face is defined primarily by his long nose and pointed red hat, with static features that do not have any articulation points. Instead, emotions are conveyed through movement, and the downward slope of the face is designed in such a way that expressions are made possible through the angle at which the puppet's face is viewed.
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claimed that
Petrushka failed because before the revolution, Petrushka, who beat people with his club and enacted his own justice, was commenting on wrongs in the world that simply did not exist after the war. The lack of meaningful social commentary in Red Petrushka resulted in conflicts that seemed
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that held up to 1500 people in the audience. This was significantly larger than the small huts that
Petrushka performances began in at the beginning of their popularity in the mid 19th century, where their booths were situated at the periphery of the fairgrounds and held fewer than 200 patrons, which
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During the early Soviet years, the puppet theatre again was transformed. Fairgrounds, the traditional home of the
Petrushka theatre, were replaced with Parks of Culture in Rest throughout the late 1920s and 30s. Despite this, Petrushka continued. In the 1920s and 1930s, Petrushka increasingly became
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was collectively referring to the different characters and scenes arranged in various ways for various audiences, including regional differences. These variants ranged from a simple monologue performed by the hero
Petrushka to a full ensemble cast. In each of these cases, Petrushka was at the center
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With the popularization of the genre, the target demographic began to shift. Though children were never excluded from the booths at the fairgrounds, they were not the primary audience. Rather, Petrushka--and carnival affairs more generally--were most popular among young, single men. Starting in the
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as the "classical ne'er-do-well in the puppet family." He is presented as mischievous, self-serving, gluttonous, aggressive, and cowardly. He is usually at the center of conflict in the
Petrushka carnival plays, often getting himself out of trouble by killing the other puppets on stage with a swing
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Overall, the size of the puppet is determined by the limiting factor of the human hand, with the width delineated by the space between the thumb and pinky, which act as the puppet's arms, while the three proximal fingers serve as the puppet's torso supporting the head. The length has more variation
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The popularity of
Petrushka comedies in particular largely began in the mid-nineteenth century, with the century from 1830–1930 being the height of its popularity. The origins of the Petrushka puppet in Russia are debated, with some claiming that there were origins of the tradition pre-dating the
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in poetry, stage plays, and novels. The
Symbolists were less interested in the puppet theatre than in what the symbol of the puppet represented between past and future. Drawing on the idea that the puppet superseded the human comedic actor, they used the image to comment on how the position of
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The early twentieth century saw both the growth and shift of
Petrushka's popularity before its decline. In particular, the years leading up to and immediately surrounding the Russian revolution saw the growth of puppet theaters as year-round standalone cultural institutions outside of the
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on puppet theatre in Russia is undeniable. Originating as actors in clown makeup before gradually moving toward puppetry, Russian artists began to take over from the
Russian-speaking Italian performers who had been running the scenes before.
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in the cities brought more attention to the fairs. This was likely how
Petrushka puppetry became a provincial form of entertainment, often frequented primarily by the urban lower class. At the same time, the Russian
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in which the eponymous hero challenges the love interest of a ballerina he wants to marry. The plot of the ballet relies on knowledge of the Petrushka tradition, as the puppets are brought to life during
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the subject of the children's literature. As puppet theatre gradually became a predominantly children's entertainment, Petrushka became less vulgar and aggressive, moving away from his
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in Russian culture. While most core characters came from Italy, they were soon transformed by the addition of material from the Russian cultural context.' Petrushkas are traditionally
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Meanwhile, while the practical art of puppetry was thriving under the Efimovs' influence, the image of Petrushka was outgrowing the puppet theatre in other ways. In 1911, the composer
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The puppeteer for the show did the voices for all the characters present in the show. However, the voice of Petrushka was distinct from the other characters on stage through use of a
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who himself eventually became the President of the International Union of Puppeteers as well as named the Head of the Sergei Obraztsov State Academic Central Puppet Theatre by the
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Entry to the puppet booths was cheaper than to the larger, primary attractions at the late 19th-century Russian carnival, with standard entry as low as a grivennik (10
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Adventures of a Russian puppet theatre: including its discoveries in making and performing with hand-puppets, rod-puppets and shadow-figures, now disclosed for all
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Adventures of a Russian puppet theatre: including its discoveries in making and performing with hand-puppets, rod-puppets and shadow-figures, now disclosed for all
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Adventures of a Russian puppet theatre: including its discoveries in making and performing with hand-puppets, rod-puppets and shadow-figures, now disclosed for all
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566:," describing him as a puppet who fell in with a bad crowd (i.e. a joke about the influence of the French, English, and Italian puppets on Russian puppetry).
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government in 1931. Simonovich-Efimova published the most extensive description of practical puppet knowledge about Petrushka glove puppets in her theory "
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1221:"Contextual Analysis of F. M. Dostoevsky's Draft Sketch "On the Petrushka Folk Theatre": the Theme of the Russian People and the Problem of Their Unity"
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throughout the performance, other characters included Petrushka's fiance or wife, a horse-trader, a German, a doctor, a corporal, the policeman, the
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carnival context, likely in response to growing revolutionary sentiments and an attempt by artists and audiences to connect with cultural roots.
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The Efimov Theatre in Moscow, 1919. The Efimovs were responsible for popularizing the standalone puppet theatre tradition in the 20th century.
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This also accounts for the frequent mixing of surnames, such as when Nina Simonovich-Efimova refers to the Russian puppet as "Petroushka
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208:(балаган) after the carnival booths in which the plays were enacted), or even the general category of Russian hand puppets as a whole.
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of the action, rarely leaving the stage, and only matched in stage time by the character of the Musician--a human respondent (
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to seeing himself in the mirror as the image of Petrushka amidst the threat of failure in his revolutionary activity.
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in 1830 Saint Petersburg, and plays with cultural expectations of the standard structure of a Petrushka comedy.
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frequented puppet shows with his brother, attesting in his writings for the relationship between Petrushka and
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Posner, Dassia (2014). "Life-death and disobedient obedience: Russian modernist redefinitions of the puppet".
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Posner, Dassia (2014). "Life-death and disobedient obedience: Russian modernist redefinitions of the puppet".
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humanity between a mythic past and a tenuous future and the decline of society and the arts in Russia.
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634:("About Petrushka") in 1919, along with books, pamphlets and guides for aspiring Petrushka puppeteers.
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applied to it so as to be lightweight and to make a sound when hit, such as was often the case in the
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The name "Petrushka" originally and primarily refers to the specific stock character of the Russian
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Pierrot in Petrograd: the Commedia dell'arte/Balagan in twentieth-century Russian theatre and drama
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Pierrot in Petrograd: the Commedia dell'arte/Balagan in twentieth-century Russian theatre and drama
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but typically is fewer than 19 inches since the legs hang toward the proximal part of the forearm.
1353:. Dassia N. Posner, Claudia Orenstein, John Bell. London: Taylor & Francis. pp. 130–143.
861:. Dassia N. Posner, Claudia Orenstein, John Bell. London: Taylor & Francis. pp. 130–143.
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Catriona Kelly, "From Pulcinella to Petrushka: The History of the Russian Glove Puppet Theatre."
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comedy of carnival theatre. Petrushka is most often represented wearing red clothing (typically a
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Petrushka plays were primarily performed in the setting of the carnivals held in cities such as
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Petrushka Group in 1928. However, by the late 1930s, this version of Petrushka, too, declined.
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Starting in the 1920s, troupes traveled from city to city doing Petrushka editions of the
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Though Petrushka's name still likely comes to the Russian puppet theatre through the
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in Russian. Despite this, the character has little or nothing in common with the
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though there was not a single play to which they were referring. Rather, the
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in Paris. The statue, donated by Serge Lifar, shows Nijinsky as the puppet
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The head of the Petrushka puppet was traditionally made with wood, such as
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theatre in which Petrushka appeared defending poor peasants and attacking
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This article is about the Russian puppet. For the Stravinsky ballet, see
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1036:. Andrew Wachtel. Evanston, Ill.: Northwestern University Press. 1998.
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efforts have led many to speculate about the relationship nonetheless.
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1266:. Translated by Mitcoff, Elena. Birmingham, Mich.: Puppetry Imprints.
985:. Translated by Mitcoff, Elena. Birmingham, Mich.: Puppetry Imprints.
970:. Translated by Mitcoff, Elena. Birmingham, Mich.: Puppetry Imprints.
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before opening her own theatre with her husband sculptor and artist
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allowed audience members to see the small puppets in their booth.
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Russkyie narodnye gorodskiye prazdniki, uveseleniya i zrelishcha
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Pietro-Mira Pedrillo of Italy, the court jester of the Empress
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performances, which were performed in wooden structures called
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Petrushka and Vertep: On Traditions of Russian Puppet Theatre
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The Routledge companion to puppetry and material performance
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The Routledge companion to puppetry and material performance
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I.A. Zaitzev, Petrushka Hand-Puppet, late 19th-early 20th c.
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While the Petrushka puppet has been attested as both a
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In 1916, the influential theater critic and puppeteer
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with traveling Italian puppeteers after the period of
1123:. Santa Barbara, Calif.: ABC-CLIO. pp. 160–161.
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Pop culture Russia! : media, arts, and lifestyle
394:, booths were specially constructed and situated for
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Petrushka : the Russian carnival puppet theatre
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Petrushka : the Russian carnival puppet theatre
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Petrushka : the Russian carnival puppet theatre
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1482:(1st ed.). New York: A.A. Knopf. p. 305.
57:. Unsourced material may be challenged and removed.
345:Petrushka's personality typically follows that of
179:protagonist distinguished by his red dress, a red
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485:, allegedly served as a prototype for Petrushka.
434:In addition to the Musician, who often played a
527:were more interested in the puppet theatres of
406:The plays themselves were often referred to as
378:depiction of a Russian Petrushka theatre, 1911.
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999:Petrushka: the Russian carnival puppet theatre
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680:At the same time, Petrushka was being used by
614:performed her first public Petrushka plays in
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1318:. Montréal: McGill-Queen's University Press.
1283:. Montréal: McGill-Queen's University Press.
896:. Montréal: McGill-Queen's University Press.
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211:Although the Russian word "petrushka" has a
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1166:: CS1 maint: location missing publisher (
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1517:. Cambridge: Cambridge University Press.
1190:. Cambridge: Cambridge University Press.
1088:. Cambridge: Cambridge University Press.
1002:. Cambridge: Cambridge University Press.
934:. Cambridge: Cambridge University Press.
117:Learn how and when to remove this message
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1547:"RCWS.org | The Petroushka Ball"
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1033:Petrushka : sources and contexts
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55:adding citations to reliable sources
1152:Nekrylova, Anna Fodorovna (1988).
763:Russian Children's Welfare Society
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1479:Russia under the Bolshevik regime
1262:Simonovich-Efimova, Nina (1935).
981:Simonovich-Efimova, Nina (1935).
966:Simonovich-Efimova, Nina (1935).
390:. At these carnivals surrounding
367:Petrushka in the carnival theatre
1219:Mikhnovets, Nadezhda G. (2022).
349:. He was described by prominent
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2123:(self styled captain, braggart)
1382:Fomin, Dmitry V. (2021-10-11).
333:) and carrying a club called a
227:) for "Pyotr" (Пётр), which is
171:. The character is a kind of a
42:needs additional citations for
1225:Университетский научный журнал
1:
1549:. Jun 8, 2008. Archived from
606:opened her puppet theatre in
1312:Clayton, J. Douglas (1993).
1277:Clayton, J. Douglas (1993).
1233:10.25807/22225064_2022_68_49
890:Clayton, J. Douglas (1993).
749:arbitrary and missing their
610:. That same year in Moscow,
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604:Yulia Slonimskaia Sazonova
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1429:Barker, Meghanne (2021).
715:The War of Petrushka and
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516:emancipation of the serfs
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20:. For the racehorse, see
1511:Kelly, Catriona (1990).
1184:Kelly, Catriona (1990).
1117:Beumers, Birgit (2005).
1082:Kelly, Catriona (1990).
996:Kelly, Catriona (1990).
928:Kelly, Catriona (1990).
2879:Kholmogory bone carving
1476:Pipes, Richard (1993).
794:Nina Simonovich-Efimova
612:Nina Simonovich-Efimova
357:Nina Simonovich-Efimova
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1645:By ethics and morality
1388:Observatory of Culture
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144:[pʲɪtˈruʂkə]
51:improve this article
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2894:Fedoskino miniature
2889:Russian lacquer art
2435:Princess and dragon
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647:Montmartre Cemetery
3242:Commedia dell'arte
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2422:Damsel in distress
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3247:Fictional jesters
3237:Traditional dolls
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1701:Mythological king
1360:978-0-415-70540-0
1325:978-0-7735-6441-1
1290:978-0-7735-6441-1
1130:978-1-84972-387-9
903:978-0-7735-6441-1
868:978-0-415-70540-0
845:21 (1988): 41–63.
574:(Russian: лубки,
572:Russian chapbooks
536:Fyodor Dostoevsky
520:industrialization
449:(Russian: пищик,
376:Alexander Benois'
262:Peter the Great's
127:
126:
119:
101:
22:Petrushka (horse)
3264:
3232:Stock characters
2909:Palekh miniature
2899:Kholuy miniature
2840:
2833:
2826:
2817:
2736:Little green men
2725:Imaginary friend
2676:
2632:
2454:
2394:Mammy stereotype
2348:Yamato nadeshiko
2164:
2155:
2144:
2019:Bug-eyed monster
1983:Social Darwinist
1932:
1908:Good cop/bad cop
1791:
1661:
1652:
1641:
1615:Stock characters
1608:
1601:
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915:
887:
881:
880:
852:
846:
839:
823:Sergey Obraztsov
746:Sergei Obraztsov
608:Saint Petersburg
475:during Holy Week
472:Balagany in Tula
384:Saint Petersburg
200:. However, like
159:of Russian folk
154:
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137:
136:
122:
115:
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100:
59:
35:
27:
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3262:
3261:
3207:
3206:
3205:
3200:
3164:
3155:Matryoshka doll
3116:
3073:
3066:
2958:
2925:
2856:Decorative arts
2850:
2844:
2814:
2805:
2681:
2658:
2635:
2608:
2577:
2560:Prince Charming
2554:
2550:Superfluous man
2545:Nice Jewish boy
2498:
2475:
2439:
2416:
2398:
2381:Lady-in-waiting
2375:
2352:
2319:
2291:
2263:
2249:Fairy godmother
2225:
2149:
2126:
2065:
2005:
1977:
1948:
1917:
1896:
1875:Gentleman thief
1856:
1849: and
1817:
1776:
1748:
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1578:
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942:
927:
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919:
904:
889:
888:
884:
869:
854:
853:
849:
840:
836:
831:
775:
759:
675:Vaslav Nijinsky
659:Igor Stravinsky
643:Vaslav Nijinsky
624:Sergei Obraztsv
592:
489:arrival of the
464:
459:
369:
343:
283:
278:
273:
191:
157:stock character
149:
148:
147:
139:
123:
112:
106:
103:
60:
58:
48:
36:
25:
12:
11:
5:
3270:
3268:
3260:
3259:
3254:
3249:
3244:
3239:
3234:
3229:
3224:
3219:
3209:
3208:
3202:
3201:
3199:
3198:
3196:Vyazma pryanik
3193:
3188:
3183:
3178:
3172:
3170:
3166:
3165:
3163:
3162:
3157:
3152:
3147:
3142:
3140:Filimonovo toy
3137:
3132:
3126:
3124:
3118:
3117:
3115:
3114:
3109:
3107:Musical spoons
3104:
3102:Russian guitar
3099:
3094:
3089:
3084:
3078:
3076:
3068:
3067:
3065:
3064:
3059:
3054:
3049:
3044:
3039:
3034:
3029:
3027:Podvorotnichok
3024:
3019:
3014:
3012:Orenburg shawl
3009:
3004:
2999:
2994:
2989:
2984:
2979:
2974:
2968:
2966:
2960:
2959:
2957:
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2927:
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2923:
2918:
2913:
2912:
2911:
2906:
2901:
2896:
2886:
2881:
2876:
2874:Filimonovo toy
2871:
2866:
2860:
2858:
2852:
2851:
2845:
2843:
2842:
2835:
2828:
2820:
2811:
2810:
2807:
2806:
2804:
2803:
2798:
2793:
2788:
2786:Tragic mulatto
2783:
2778:
2773:
2768:
2763:
2761:Shoulder angel
2758:
2753:
2748:
2743:
2738:
2733:
2732:("The Lovers")
2727:
2722:
2717:
2712:
2707:
2702:
2697:
2692:
2686:
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2338:Southern belle
2335:
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2293:
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2269:Hawksian woman
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2256:
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2235:
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2227:
2226:
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2218:
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2196:
2191:
2186:
2184:Girl next door
2181:
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2118:
2104:
2099:
2097:Masked villain
2094:
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2079:
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2051:
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2021:
2015:
2013:
2007:
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1987:
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1618:
1613:
1611:
1610:
1603:
1596:
1588:
1582:
1581:
1573:
1563:
1562:External links
1560:
1557:
1556:
1553:on 2008-06-08.
1538:
1523:
1503:
1488:
1468:
1441:(3): 375–401.
1421:
1394:(4): 424–435.
1374:
1359:
1339:
1324:
1304:
1289:
1269:
1254:
1211:
1196:
1173:
1144:
1129:
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955:
940:
917:
902:
882:
867:
847:
833:
832:
830:
827:
826:
825:
820:
818:Puppet theatre
815:
810:
808:Punch and Judy
805:
796:
791:
786:
781:
774:
771:
758:
755:
689:'s 1913 novel
591:
588:
529:Western Europe
525:intelligentsia
483:Anna Ioannovna
470:Andrei Popov,
463:
460:
458:
455:
368:
365:
342:
339:
282:
279:
277:
274:
272:
269:
265:Westernization
190:
187:
165:Westernization
132:(Russian:
125:
124:
107:September 2023
39:
37:
30:
13:
10:
9:
6:
4:
3:
2:
3269:
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3179:
3177:
3174:
3173:
3171:
3167:
3161:
3158:
3156:
3153:
3151:
3150:Kargopol toys
3148:
3146:
3143:
3141:
3138:
3136:
3133:
3131:
3128:
3127:
3125:
3123:
3119:
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2973:
2970:
2969:
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2955:
2952:
2950:
2947:
2945:
2944:Faceted glass
2942:
2940:
2937:
2936:
2934:
2932:
2928:
2922:
2919:
2917:
2916:Russian icons
2914:
2910:
2907:
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2900:
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2822:
2821:
2818:
2802:
2799:
2797:
2796:Village idiot
2794:
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2782:
2779:
2777:
2774:
2772:
2769:
2767:
2764:
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2757:
2754:
2752:
2749:
2747:
2744:
2742:
2741:Magical Negro
2739:
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2734:
2731:
2728:
2726:
2723:
2721:
2718:
2716:
2713:
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2602:
2600:
2597:
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2574:
2573:Knight-errant
2571:
2569:
2566:
2565:
2563:
2561:
2557:
2551:
2548:
2546:
2543:
2541:
2538:
2536:
2535:Little Johnny
2533:
2531:
2528:
2526:
2523:
2521:
2520:Ivan the Fool
2518:
2516:
2513:
2511:
2508:
2507:
2505:
2501:
2495:
2492:
2490:
2487:
2486:
2484:
2482:
2481:Father figure
2478:
2472:
2469:
2467:
2464:
2463:
2461:
2459:
2455:
2452:
2450:
2446:
2436:
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2427:
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2419:
2413:
2410:
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2387:
2386:
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2349:
2346:
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2334:
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2328:
2326:
2322:
2316:
2313:
2311:
2308:
2306:
2303:
2302:
2300:
2298:
2297:Woman warrior
2294:
2288:
2285:
2283:
2280:
2278:
2275:
2274:
2272:
2270:
2266:
2260:
2257:
2255:
2252:
2250:
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2240:
2237:
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2234:
2232:
2228:
2222:
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2215:
2212:
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2200:
2197:
2195:
2192:
2190:
2187:
2185:
2182:
2180:
2177:
2175:
2172:
2171:
2169:
2167:Love interest
2165:
2162:
2160:
2156:
2152:
2145:
2141:
2122:
2119:
2116:
2112:
2108:
2105:
2103:
2100:
2098:
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2090:
2088:
2085:
2083:
2080:
2078:
2075:
2074:
2072:
2068:
2060:
2057:
2056:
2055:
2052:
2050:
2047:
2045:
2044:Swamp monster
2042:
2040:
2037:
2035:
2032:
2030:
2027:
2025:
2022:
2020:
2017:
2016:
2014:
2012:
2008:
2002:
1999:
1997:
1996:Mad scientist
1994:
1992:
1989:
1988:
1986:
1984:
1980:
1974:
1971:
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1966:
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1942:
1941:
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1829:
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1826:
1824:
1820:
1814:
1811:
1809:
1806:
1804:
1801:
1800:
1798:
1796:
1795:Lovable rogue
1792:
1789:
1787:
1783:
1771:
1768:
1767:
1766:
1765:Super soldier
1763:
1761:
1758:
1757:
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1742:
1740:
1737:
1735:
1732:
1731:
1729:
1727:
1723:
1717:
1714:
1712:
1709:
1707:
1704:
1702:
1699:
1697:
1694:
1692:
1691:Knight-errant
1689:
1687:
1684:
1682:
1679:
1677:
1676:Christ figure
1674:
1672:
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1666:
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1642:
1638:
1632:
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1597:
1595:
1590:
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1577:
1574:
1569:
1566:
1565:
1561:
1552:
1548:
1542:
1539:
1534:
1530:
1526:
1524:0-521-37520-7
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1515:
1507:
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1489:0-394-50242-6
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1234:
1230:
1227:(68): 49–58.
1226:
1222:
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1199:
1197:0-521-37520-7
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62:Find sources:
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40:This article
38:
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3191:Tula pryanik
3159:
3145:Dymkovo toys
3032:Russian lace
2987:Gymnastyorka
2949:Podstakannik
2801:White savior
2771:Straight man
2705:Dragonslayer
2654:Black knight
2622:Seme and uke
2604:Mountain man
2594:Noble savage
2489:Wise old man
2310:Magical girl
2282:Femme fatale
2259:Loathly lady
2214:Monster girl
2059:Nazi zombies
2034:Monster girl
2001:Supervillain
1963:Double agent
1936:Antivillains
1890:Space pirate
1823:Tricky slave
1770:Space marine
1734:Byronic hero
1716:Youngest son
1664:Classic hero
1579:(in English)
1571:(in Russian)
1551:the original
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632:O Petrushke"
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169:hand puppets
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49:Please help
44:verification
41:
3181:Fabergé egg
3135:Cheburashka
3112:Treshchotka
3074:instruments
2997:Kosovorotka
2848:handicrafts
2746:Mole people
2589:Feral child
2471:Scaramouche
2343:Valley girl
2305:Jungle girl
2277:Dragon Lady
2254:La Ruffiana
2199:Loosu ponnu
2121:Il Capitano
1744:Tragic hero
1696:Legacy hero
1671:Action hero
687:Andrei Bely
620:Ivan Efimov
436:hurdy-gurdy
360:of his club
341:Personality
299:hand puppet
271:Description
66:"Petrushka"
3252:Pulcinella
3211:Categories
3052:Telnyashka
3037:Sailor cap
3022:Peaked cap
2781:Town drunk
2730:Innamorati
2430:Final girl
2412:Gamer girl
2115:Il Dottore
2087:Folk devil
2029:Killer toy
2024:Evil clown
1944:False hero
1885:Air pirate
1847:Pulcinella
829:References
813:Pulcinella
695:about the
692:Petersburg
671:Maslenitsa
597:Shrovetide
554:petrushka.
540:Pulcinella
388:Shrovetide
347:Pulcinella
295:marionette
251:Pulcinella
225:diminutive
77:newspapers
3160:Petrushka
3082:Balalaika
2992:Kokoshnik
2977:Budenovka
2931:Tableware
2884:Khokhloma
2791:Truck-kun
2695:Barbarian
2629:Otokonoko
2582:Primitive
2458:Harlequin
2449:Masculine
2404:Geek girl
2389:Columbina
2325:Queen bee
2111:Pantalone
2082:Archenemy
1991:Dark lord
1973:Terrorist
1968:Evil twin
1839:Brighella
1835:Harlequin
1813:Trickster
1760:Cyberhero
1739:Man alone
1711:Superhero
1686:Folk hero
1631:Archetype
1568:Petrushka
1463:236234560
1455:0036-0341
1416:241069165
1408:2588-0047
1369:868199756
1334:227038219
1299:227038219
1249:249449791
1241:2222-5064
1162:cite book
1139:299474319
1060:cite book
912:227038219
877:868199756
800:Petrushka
767:ballerina
727:slapstick
701:Harlequin
664:Petrushka
651:Petrushka
542:. In his
518:in 1961,
429:otvetchik
354:puppeteer
319:slapstick
239:Petruccio
215:meaning "
177:slapstick
135:Петру́шка
130:Petrushka
3047:Stalinka
2972:Afghanka
2964:Clothing
2846:Russian
2776:Tokenism
2766:Sidekick
2756:Redshirt
2751:Pop icon
2568:Bishōnen
2540:Nice guy
2287:Tsundere
2239:Cat lady
2159:Feminine
2049:Vampires
2039:Skeleton
2011:Monsters
1927:Villains
1726:Antihero
1681:Everyman
1533:20133895
1498:27066444
1206:20133895
1104:20133895
1052:38270868
1018:20133895
950:20133895
802:(ballet)
773:See also
742:Red Army
734:agitprop
451:pishchik
421:Cyrillic
400:balagany
198:puppetry
195:carnival
161:puppetry
3222:Puppets
3186:Shashka
3072:Musical
3062:Valenki
3057:Ushanka
3042:Sarafan
2954:Samovar
2649:Pachuco
2641:Bad boy
2599:Caveman
2466:Pierrot
2371:Laotong
2366:Class S
2209:Catgirl
2194:Ingénue
2174:Bishōjo
2107:Vecchio
2054:Zombies
1870:Bad boy
1851:Pierrot
1845:,
1843:Scapino
1841:,
1837:,
1706:Paladin
789:Guignol
729:roots.
720:, 1925.
703:of the
558:Guignol
546:and in
544:diaries
512:kopecks
500:Peter I
477:, 1873.
457:History
447:swazzle
425:Russian
335:dubinka
313:, with
243:Pierrot
217:parsley
213:homonym
206:balagan
202:Guignol
155:) is a
91:scholar
3087:Garmon
3002:Kaftan
2982:French
2680:Others
2315:Virago
2077:Alazon
1880:Pirate
1862:Outlaw
1786:Rogues
1656:Heroes
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738:kulaks
628:Soviet
616:Moscow
416:Comedy
392:Easter
351:Soviet
330:kolpak
324:kaftan
297:and a
182:kolpak
173:jester
93:
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79:
72:
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3169:Other
3097:Bayan
3092:Gusli
3007:Lapti
2869:Gzhel
2710:Donor
2700:Clown
2515:Himbo
2503:Young
2244:Crone
2102:Miser
2070:Other
1901:Other
1831:Zanni
1753:Other
1459:S2CID
1412:S2CID
1245:S2CID
576:lubki
564:Punch
440:Devil
311:birch
247:Punch
229:Peter
98:JSTOR
84:books
3176:Izba
3122:Toys
2715:Fool
2614:LGBT
2530:Jock
2525:Jack
2358:LGBT
2113:and
2092:Igor
1955:mole
1953:The
1913:Rake
1808:Jack
1626:List
1529:OCLC
1519:ISBN
1494:OCLC
1484:ISBN
1451:ISSN
1404:ISSN
1365:OCLC
1355:ISBN
1330:OCLC
1320:ISBN
1295:OCLC
1285:ISBN
1237:ISSN
1202:OCLC
1192:ISBN
1168:link
1135:OCLC
1125:ISBN
1100:OCLC
1090:ISBN
1066:link
1048:OCLC
1038:ISBN
1014:OCLC
1004:ISBN
946:OCLC
936:ISBN
908:OCLC
898:ISBN
873:OCLC
863:ISBN
761:The
497:Tsar
327:and
281:Form
189:Name
175:, a
140:IPA:
70:news
2231:Hag
1443:doi
1396:doi
1229:doi
645:in
410:or
249:or
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