Obraztsov, Sergey Vladimirovich

born July 5, 1901, Moscow, Russia

died May 8, 1992, Moscow

Russian puppeteer.

While working as an actor in Moscow (1922–31), he gave independent vaudeville-style puppet shows. In 1931 he was chosen to be the first director of Moscow's State Central Puppet Theatre. There his performances, displaying technical excellence and stylistic discipline, established puppetry as an art form in the Soviet Union, and on worldwide tours he inspired the formation of several rod-puppet theatres. His notable productions included Aladdin's Magic Lamp (1940), An Unusual Concert (1946), and Don Juan (1976).

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▪ Soviet puppeteer

born June 22 [July 5, New Style], 1901, Moscow, Russia

died May 8, 1992, Moscow

 puppet master who established puppetry as an art form in the Soviet Union and who is considered to be one of the greatest puppeteers of the 20th century.

      The son of a schoolteacher and a railroad engineer, Obraztsov studied painting at the Higher Art and Technical Studios. He became an actor at the Moscow Nemirovich-Danchenko Music Theatre (1922–30) and then at the Moscow Art Theatre (1930–31). During this time he also gave independent vaudeville-style puppet shows and in 1931 was chosen by the Soviet government as the first director of the State Central Puppet Theatre, Moscow.

      Obraztsov's performances displayed marked technical excellence and stylistic discipline. In dozens of tours outside the Soviet Union, notably the 1953 tour of Great Britain and the 1963 tour of the United States, his shows enchanted audiences with classic figures such as the dancing couple whose tango movements require the skill of seven puppeteers, and the female gypsy who sings bass. A number of rod-puppet theatres were founded as a result of Obraztsov's tours. His Meobyknovenny kontsert (1946; “An Unusual Concert”), a satire of inept performers, and Volshebnaya lampa Aladina (1940; “Aladdin's Magic Lamp”) became popular throughout the world. His Don Zhuan (“Don Juan”) was produced in 1976. He also gained renown for his work with a kind of finger puppet called a ball puppet and for demonstrating puppeteering with his bare hands.

      Obraztsov's Moya professiya (1950; “My Profession”) is a description of his craft that was translated into several languages. His Teatr kitayskogo naroda (1957) appeared in a translation by J.T. McDermott as the Chinese Puppet Theatre (1961).

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