In this blog post, we will examine the social and political significance of Czech puppetry through the lens of puppet animation—such as Jiří Trnka’s ‘RUKA’—key figures in the field, the origins and development of puppetry, and exchanges with Korea.

Introduction

Introduction

In early 2020, I had planned a short-term training program in Prague, but most local performances were canceled due to the COVID-19 pandemic. Although I couldn’t attend the performances in person, I was deeply impressed by Jiří Trnka’s puppet animation ‘RUKA’, which I discovered on YouTube, realizing that Czech puppetry and puppet animation are art forms that critically reflect the social conditions of their time. Inspired by this experience, I collaborated with a colleague to explore Czech puppetry, examining its history, key figures, and representative works to understand what puppetry meant to the Czech people and the impact it had on them.

The Definition of Puppetry and Czech Puppetry

Puppetry generally refers to a form of theater in which puppets are crafted, dressed in costumes, and manipulated by hand or string to portray characters and narratives. While there are various etymological interpretations, many scholars believe that terms related to puppets or puppet theater derive from an old expression meaning “young girl.” The Korean word “kkottugaksi” (puppet) is also connected to the fact that “gaksi” means “young girl.”
The forms of puppets and puppet theater vary depending on the materials used and the method of manipulation. Materials include sewing, wood carving, sponge, plastic, clay, paper, and more, while manipulation methods are divided into string puppets (marionettes), shadow puppets, hand puppets, finger puppets, rod puppets, and masks (puppets worn by a person). In the Czech Republic, wooden marionettes (string puppets) are particularly famous and can be easily found in souvenir shops.
The Czech tradition of puppet theater was inscribed on the UNESCO Intangible Cultural Heritage list in 2016, alongside Slovakia. Today, there are approximately nine professional puppet theaters, over 100 independent troupes, and hundreds of amateur groups in the Czech Republic, demonstrating the significant role puppet theater plays in Czech culture.

Main Body

An Overview of the History of Czech Puppetry

The history of Czech puppetry can generally be divided into four periods: the early form from the 18th century to the early 19th century; the period of modernization from the 19th century through the pre-World War II era; the post-war communist regime era; and the changes following the Velvet Revolution of 1989.

Early Form (18th–19th Centuries)

Czech puppetry is believed to have been introduced from other European countries, particularly Italy, around the 18th century. At that time, puppet troupes were organized around family units and traveled as nomadic troupes, performing in markets, town squares, and taverns. The typical repertoire included works popular throughout Europe, such as “Faust” and “Don Juan,” as well as Czech legends and fairy tales, such as the legend of Princess Libuše.
During this period, puppet plays often conveyed moralistic messages, and the puppets themselves were typically crafted by professional puppet sculptors rather than made by the troupes themselves.
The primary material was linden wood, painted with oil paints; since a single puppet often played multiple roles, their facial expressions tended to be relatively neutral. Notable puppet sculptors active at the time included Josef Alessi, Sr., Vojtěch Zach, Jindřích Adámek, and the Sucharda family.

Modern Development (19th Century Onward to Before World War II)

As the 19th century began, the continued popularity of traveling puppet theater spurred a transition toward permanent theaters. Dedicated puppet theaters were established in various cities, and amateur puppet theater associations were formed. In 1912, the specialized puppet theater magazine ‘Loutkář’ was launched and continues to be published today.
Home puppet theater sets, inspired by the illustrations of the painter Mikoláš Aleš, also became widely popular at the time. In 1914, puppet theater activities in the form of summer camps began in Plzeň, and in 1920, an artistic puppet theater stage opened in Prague. In 1929, the International Puppetry Association (UNIMA) was founded in the Czech Republic; this organization subsequently formed an international network and remains active to this day.

After World War II

It would be easy to assume that puppetry declined due to the historical context of the war and the communist regime, but in fact, Czech puppetry and puppet animation expanded in new directions during this period. In 1949, the Ústřední Loutkové Divadlo (Central Puppet Theater, now Divadlo Minor), Czechoslovakia’s first professional puppet theater, was established, and professional theaters subsequently opened in Liberec, České Budějovice, Brno, and Kladno.
In 1950, the Academy of Performing Arts in Prague (DAMU) began offering a puppetry program, and in 1951, the Chrudim Puppet Festival was held, strengthening the institutional foundation. At the same time, amid the political climate of the communist regime, puppet plays addressing political themes and puppet animations offering metaphorical critiques of society emerged. Works such as Jiří Trnka’s ‘RUKA’ are cited as prime examples.

Conclusion

Czech puppetry is a cultural asset that has evolved within historical and social contexts, transcending mere entertainment. Beginning with family-based traveling troupes, it has developed into modern theaters, professional educational institutions, and international organizations. In 2016, it was inscribed on the Intangible Cultural Heritage list, gaining international recognition for its value.
Various forms of puppet theater, including puppet animation and political satire, have reflected the changing times and profoundly influenced Czech society. Even today, the Czech puppet theater tradition continues steadily through the activities of numerous professional theaters, independent troupes, and amateur groups. Personally, I gained a new appreciation for the artistic depth and social messages of Czech puppet theater through works I encountered on YouTube during the pandemic, and I have attempted to summarize some of these aspects in this article.

Political Expression and Changes After the Velvet Revolution

Why Puppetry Could Serve as a Form of Political Expression Under the Communist Regime

When I asked the director of the Chrudim Puppet Museum, he explained that there were several reasons why puppetry functioned as a channel for political expression even under the communist regime. First, the communist regime primarily viewed puppets as the exclusive domain of children. Consequently, they did not expect political metaphors or satire to be included in puppet shows intended for children, and many artists exploited this loophole to convey their messages.
Second, puppet theater had a long-standing tradition of being performed in Czech. While many performances were banned from being conducted in Czech during the Habsburg era and the Nazi occupation, puppet theater remained an exception and had long incorporated critical elements regarding Czech society and the authorities.

Because of this tradition, the communist regime initially tended to interpret the targets of puppet theater’s criticism as past powers, such as the “Nazis.”
However, this approach did not always work. As some works gained widespread public recognition, government surveillance intensified, and full-scale censorship of puppet theater began, particularly after the Prague Spring of 1968. As a result, puppet theater stagnated due to censorship and restrictions.

Changes Following the Velvet Revolution

In the wake of the Velvet Revolution and the wave of democratization that followed, many restrictions were lifted, and the collapse of communism opened up new freedoms of expression for artists. With greater freedom to address religious and political themes and increased exchange with foreign capital, puppet theater began to experiment with diverse forms and innovations.
In the process, new forms of performance emerged that combined puppetry with other performing arts such as the circus, and efforts continued to present modern and experimental works while preserving tradition. Today, Czech puppetry is internationally recognized to the extent that it has been inscribed on the UNESCO list; however, it faces the challenge of continuing to produce works that offer modern inspiration, as well as the pressure to maintain its reputation.

Key Figures in Puppetry and Puppet Animation

Matěj Kopecký (1775–1847)

Matěj Kopecký is regarded as a representative puppeteer of the first generation of Czech puppetry and a symbolic figure of the Czech National Revival. Born in Libčany, Hradec Králové, in 1775, he obtained a puppetry license in 1797 but was conscripted into the Austrian army during the Napoleonic Wars. After returning to puppetry in 1818, he remained active until his death, spreading Enlightenment and patriotic ideas.
His life was marked by poverty, which stood in stark contrast to his fame; his tombstone bears the inscription “Komediant z Mirotic, vdovec a žebrák” (Comedian from Mirotice, widower and beggar). In 1862, his stories were compiled and published in a book by his son, Václav Kopecký, and in 1927, he received further attention when a portrait of him by the painter Mikoláš Aleš was unveiled.

Josef Skupa

Josef Skupa was one of the leading puppeteers in the Czech Republic. After graduating from the Prague Academy of Fine Arts (today’s Akademie Výtvarných Umění), he began his career on the puppet stage. Around the time of World War I, he presented political performances targeting the Austro-Hungarian Empire, and after the founding of Czechoslovakia, he built a reputation for literary performances and satirical plays on current affairs.
In 1920, Skupa created his most famous characters, Spejbl (the clumsy father) and Hurvínek (the clever son). Through these two puppets, he presented works that explored generational conflict and social satire. In the 1930s, he established his own professional ensemble, touring the country to deliver indirect messages to audiences, and in 1933, he was elected president of the International Puppetry Association (UNIMA).
During the war, Skupa was imprisoned on charges of listening to foreign radio broadcasts, but after 1945, he resumed his activities by opening the Divadlo Spejbl a Hurvínek. In 1948, he was awarded the title of National Artist, and he often used pantomime (a technique of conveying messages through gestures without words) to communicate with the public.

Jiří Trnka (1912–1969)

Jiří Trnka was an artist who left a significant mark on both puppetry and animation. Born in Plzeň in 1912, he graduated from the Academy of Arts, Architecture and Design in Prague (UMPRUM) and became involved in the world of puppetry in his youth, influenced by the environment in which Spejbl was created. In 1936, he founded the Dřevěné Divadlo (Wooden Theater), and in 1946, he established a studio dedicated to puppet film production.
His first feature film was Śpalíček (1947), and his major works include The Emperor’s Nightingale (1948), Old Czech Legends (1952), The Good Soldier Švejk (1959), Vase (1962), Cyber Grandma (1962), and The Hand (1965). He received international recognition, including the International Hans Christian Andersen Award in 1968.

Karel Zeman

Karel Zeman is a director and producer known for his original films that combine live-action, animation, and puppetry. Born in Ostroměř in 1910, he studied advertising in France in the 1920s and honed his skills producing advertising films in Czechoslovakia from the late 1930s onward. During the war, he worked as a manager at a company in Brno, and from 1943, he collaborated with Bata Film Studio.
In 1946, he produced a short animated series featuring a puppet named Mr. Prokouk, and in 1955, he created the film ‘Cesta do Pravěku’ (Journey to the Beginning of Time), which combined animation, live-action, and puppetry, causing a major sensation. His other notable works include ‘Inspirace’ (1949) and ‘Karel Zeman Dětem’ (1980).

The Development of Puppet Animation and Representative Works

Given the deep-rooted tradition of Czech puppetry, animation using puppets—known as puppet animation—has also developed significantly. A work familiar to Korean audiences is “Pat and Mat,” and Jiří Trnka and Karel Zeman are representative figures who gained international recognition through puppet animation.
In the Czech Republic, experimental and artistic puppet animation—combining traditional puppet theater techniques with cinematic technology—has been consistently produced, and this field remains an important genre today that bridges tradition and modern sensibilities. You can explore which Czech puppet animations are particularly famous in more detail in the following article.

Major Works of Czech Puppet Animation

The Czech Republic has produced many unique works in the field of puppet animation (animation using marionettes and puppets). Below is a brief overview of four notable works from different eras.

Cesta do Pravěku (1955, Journey to the Beginning of Time)

Karel Zeman’s Cesta do Pravěku, a film combining animation, live-action, and puppetry, was released in the Czech Republic in 1955. Depicting the adventures of four boys on a journey to prehistoric times, the film is known for its strong educational elements, serving as an opportunity for many children to learn about plants, animals, and Earth’s past. Despite being produced during the Cold War, it was distributed in the United States in the 1960s. After undergoing restoration, it was re-released in theaters in 2019 and is now available on various streaming services.

Ruka (1965)

Jiří Trnka’s short film Ruka is a work that indirectly criticizes the oppression of the communist regime through puppets depicted as artists and a symbolic entity known as “the Hand.” The “hand” is portrayed as a force that torments the protagonists and forces them to create in a specific style. At the time of its release, the film managed to survive relatively long under strict censorship thanks to its puppet animation format. However, following the Prague Spring of 1968, controls tightened and the film was censored; it went on to win the Best Animated Film award at the 1969 British Academy of Film and Television Arts (BAFTA) Awards.

Pat & Mat (1976–2020)

Pat & Mat (well-known in Korea as “Pat and Mat”) is a puppet animation series created by Lubomír Beneš at Barrandov Studio in 1976. Interestingly, this is not clay animation but puppet animation using actual puppets, and the characters’ names have often been misunderstood (the one in red is Mat, and the one in yellow is Pat). The series is known for the two protagonists’ absurd and clumsy problem-solving methods, and another distinctive feature is that there is no dialogue in any of the episodes (Although the Korean dubbed version does include dialogue in some cases). It was beloved as a national animation in the Czech Republic and Slovakia, though it was also subject to censorship, as seen in an episode where the red outfit was changed to gray for political reasons. A total of nine seasons were produced from 1976 to 2020; it aired in South Korea in 2005, and a theatrical feature was released in 2016.

Na půdě aneb Kdo má dneska narozeniny (2009, Toy Story in the Attic)

Jiří Barta’s Na půdě aneb Kdo má dneska narozeniny is a stop-motion puppet animation film created by photographing each scene one frame at a time. It follows the adventure of the protagonist, Buttercup, who lives in an attic with other dolls, as he is kidnapped and his friends set out to rescue him. It won the 2009 Czech Film Award (Czech Lion) and was released in Korea in 2013 under the title “Toy Story in the Attic.” It is currently available on some VOD services. Although it is often confused with Pixar’s Toy Story, its format and atmosphere are entirely different; it has received mid-to-high ratings from audiences on various platforms.

The Connection Between Czech Puppetry and Korea

For a long time, Czech puppetry was known in Korea only as a tourist attraction, but since 2014, cultural exchanges between Korea and the Czech Republic have gained momentum, leading to increased practical cooperation and interaction. Here, we summarize how to experience Czech puppetry in Korea, along with related figures and projects.

Puzzle Theater Company and Darak Theater

Puzzle Theater Company is an organization that introduced Czech-style puppet theater to Korea based on Korea-Czech cultural exchange, and Darak Theater was a small, dedicated venue where the company performed. Darak Theater opened in 2014 but closed in 2016 due to various circumstances. At this theater, they presented Korean traditional stories such as ‘Heungbu-ga’ and ‘Sugungga’ in the Czech puppet theater style, including the production ‘In the Attic’, performed in collaboration with Czech puppeteer Jan Klas. Following the closure of Darak Theater, related performances continued at venues such as the Mapo Art Center and the Namsangol Korean Traditional Music Hall. Updates on the troupe can be found on their official Facebook and Instagram accounts.

Czech Puppetry Specialist and Director Moon Soo-ho

Director Moon Soo-ho is a key figure who studied puppetry in the Czech Republic and introduced Czech-style puppetry to Korea. After majoring in stage directing, he went to the Czech Republic to study puppetry in earnest while considering his career path, and is known as one of the first Asians to complete a formal program there. He subsequently adapted traditional Korean stories into puppet plays at the Czech National Marionette Theatre and remained active, including directing a large-scale marionette parade at the 2012 Yeosu Expo.

The large marionette ‘Yeonan-i’ from the Yeosu Expo

“Yeonan-i”, which appeared in the Yeosu Expo parade, is a large marionette measuring approximately 11 meters in height. It is a work that embodies “Odol-i”, a character from Yeosu folklore who defeats Japanese pirates. The production took about one year, and the parade was presented through the collaborative efforts of 13 people—including students who majored in puppetry in the Czech Republic and members of a Korean performance troupe—who worked together to manipulate the puppet.

Czech Wooden Puppet Exhibition at the Seoul Museum of History

The Seoul Museum of History previously co-hosted a Czech wooden puppet exhibition with the Chrudim Museum in the Czech Republic. The exhibition showcased dozens of wooden puppets and various stage sets, and due to the COVID-19 situation at the time, it was operated on an advance reservation basis. Such exhibitions provided Korean audiences with the opportunity to experience firsthand the diversity and traditions of Czech puppetry.
As such, Czech puppet animation and puppet theater have garnered international attention for their artistic merit and experimental nature, and in recent years, they have been introduced more closely through exchanges with Korea. If you are interested, please check the latest information on related performances and exhibition schedules through the organizations’ official channels.

Conclusion: The Role of Puppet Theater in History

Preparing this article gave me the opportunity to take another look at Czech history. For a long time, Czechs endured foreign rule and censorship; when official expression was impossible, they used the medium of puppet theater to convey the stories they wanted to tell. Amid repeated censorship—under the Austro-Hungarian Empire, Nazi occupation, and the influence of communist regimes and the Soviet Union—the indirect medium of “puppets” became a vital tool for protecting and conveying their messages.
In this process, puppet theater transcended mere entertainment to become a language of social criticism and resistance. Directors and troupes utilized indirect expressions and metaphors to convey political and social messages, while audiences deciphered the meanings embedded within them. In this way, puppet theater functioned as a mechanism for preserving the community’s voice amidst historical circumstances.

Comparisons and Expectations: Similarities with Korea and Hopes for the Future

While observing Czech puppet theater, I was frequently struck by its resemblance to traditional Korean forms of expression. Although the mediums differ, in the past, Korea also used mask dance (talchum) and pansori to indirectly convey voices of criticism against those in power. In other words, while the tools—puppets and masks—differ, there is a clear commonality in that both cultures expressed criticism in creative ways under oppressive circumstances.
Furthermore, observing the diverse artists active in Czech puppet theater and puppet animation, as well as their works, I realized that there are no limits to the ways in which one can express oneself through the application of these media. I hope that works like “Pat and Mat” and puppet animations such as “The Story of the Attic” will be introduced more widely in Korea. Personally, as someone studying Czech, I would love to see more of these works translated and distributed.
Finally, I express my hope that the COVID-19 situation will stabilize as soon as possible so that I can travel again and see Czech puppet theater in person. I conclude this article by reflecting on the historical significance and expressive power that Czech puppet theater has conveyed.