MISE EN ABYME

The paper theatre is an artistic object rooted in a centuries-old tradition, capable of combining, with extraordinary finesse, the craftsmanship of the artisan and the immediacy of the imagination. In its most refined and intimate sense, this object came to life in the silence of small rooms, within the folds of paper, and in the invisible pulse of thin threads — not simply as entertainment or a childhood toy, but as a sophisticated product of craftsmanship that tells stories through three-dimensional sets made of paper, cardboard, and sometimes fabric.

Its origins date back to the 18th century, with early examples in Central Europe and England, where they became established not only as tools of entertainment but also as educational means. Paper, cardboard, and fabrics became, under the expert hands of artisans, the medium for stories interwoven with tradition, pedagogy, and the desire for an aristocratic aesthetic pleasure. Indeed, while in Germany and Austria, these little theatres were conceived as educational devices, in England, the custom developed of giving them as souvenirs to spectators, thereby honouring the theatrical experience. This act was not simply about giving a gift, but about demonstrating membership in an elite world, where theatre, even in its miniature form, became a tool for socialising and prestige.

Some of the earliest and most masterful examples of this miniature art were commissioned by Marie Antoinette, who ordered some of the most extravagant paper theatres for her ladies-in-waiting, using them not only to represent her luxurious world but also her passion for scenography, for the arts, as well as for the grandeur of Versailles. One interesting example, now housed at the Musée de la Mode de la Ville de Paris, reveals the craftsmanship of the era’s artisans, who were able to reproduce in minute details the splendid court dances.

Among those who have most distinguished themselves in the tradition of paper theatres is Franz Xaver Petter, a 19th-century Austrian artisan whose expertise in creating paper theatres has left an indelible mark on the history of applied arts. His work fits within a broader context, with documentation by I.K. Green, in the 1812 manuscript, codifying the techniques for constructing these miniature theatres. The facades were inspired by the most famous theatres, and the performance had to strictly follow a pre-established script, representing an ideal blend of theatrical art and craftsmanship. The techniques used to create these theatres varied depending on the availability of materials and economic resources.

Paper was hand-painted in fine detail, sometimes with stencils or lithographs, and then glued onto cardboard to ensure the necessary sturdiness. Paper theatres rarely exceeded 50-60 centimetres in height, yet within those confined spaces, a multitude of details converged to make them objects of great aesthetic and cultural value. Among the most renowned producers of this art were W.G. Webb (who had Robert Louis Stevenson among his clients) and Benjamin Pollock, the latter known for creating some of the finest paper theatres of the Victorian era. His workshop became a focal point for collectors and theatre enthusiasts, and his works are still considered masterpieces of this tradition. Many pieces are preserved at the Märkisches Museum in Berlin, where iconic items such as the early Bilderborgen (self-assembly paper theatres) and the paper theatre Thalia, discovered in the private estate of the Berlin archaeologist Wolfrau Nagel and named after the Greek muse of comic poetry, are housed. The Thalia paper theatre was created by the Adolph Engel company (1848-1906) and features 18 different scenes, from a farmhouse to an oriental palace. Also housed at Nagel’s private estate are the famous pamphlets from the JF Schreiber company, which provided instructions on how to create sound and light effects during performances (such as creating lightning by blowing rosin powder through a tube, or simulating thunder by shaking a thick piece of cardboard).

The paper theatres also found a place in the military: during the Second World War, some producers used them as a way to sugarcoat and tell, primarily to children, the dynamics of the war, but also to convey messages of hope and resistance.

In the post-war period, major Haute Couture houses used paper theatres as a more economical alternative to runway shows, presenting collections to clients in a precious way that merged fashion and art, with extremely detailed figures. From Christian Dior, to Yves Saint Laurent, who used them to present his bolder collections, such as those inspired by Eastern themes or cabaret.

And when reflecting on the art of paper theatre, we cannot ignore its presence in cinema, where in Ingmar Bergman’s famous Fanny & Alexander, a paper theatre becomes a metaphor for life itself, symbolising fiction and reality, a dream that becomes solid and real in the mind of the observer, as a form of escapism from pain.

The art of the paper theatre, which today blends with new technologies and materials, has not lost its aura of magic. Contemporary artists such as Karolina Sobecka, Boris Krol, Helen Musselwhite, and Maria Mazzetti are rewriting the rules of the game, using technology to breathe new life into these ancient traditions. In these modern hands, the paper theatre becomes interactive, exploring new frontiers where the audience itself can participate and shape the fantasy that has always fascinated humankind. Precious papers, such as Japanese ones, and the use of LED lights and sound effects are tangible signs of an art form that never stops renewing itself while remaining true to its origins.

In every fold of paper, in every character that comes to life, the paper theatre whispers to us that beauty is never a detail, but an act of resistance against oblivion. It continues to live, fragile yet powerful at the same time, like the beauty of a story that, even in its miniature form, remains eternal, untouched by time and memory, always ready to reveal itself, to enchant, and to make us rediscover the world with new eyes.