In today's article we are going to delve into the exciting world of Batlejka. This is a topic that has sparked the interest of researchers, experts and hobbyists alike, since Batlejka is present in various aspects of our daily lives. Along these lines, we will explore the different facets of Batlejka, from its origins to its evolution today. In addition, we will analyze its impact on society, as well as possible future implications. It doesn't matter if you are an expert in Batlejka or if you are just discovering this topic, this article offers you an in-depth look that will allow you to expand your knowledge and reflect on the importance of Batlejka in today's world.
Batlejka (Belarusian: Батле́йка, Batleyka) is a Belarusian amateur puppet theatre. Its name is derived from the city of Bethlehem and performances are traditionally given over the Christmas period.
It became popular in Belarus in the 16th century but the peak of its popularity falls on the 18-19th centuries. It was largely forgotten during Soviet times but revived in present-day Belarus and within the Belarusian diaspora.
Puppets on metal rods are led by a puppeteer hiding behind a wooden booth with doors. The booth has two levels - the upper ‘heavenly’ or ‘canonical’ level and the lower ‘earthly’ or ‘layman’ level.
Puppets were traditionally made of wood and dressed in colourful miniature clothes.
King Herod learns from the Three Kings that the Saviour is born. Considering him a rival, King Herod decides to kill Jesus.
He order a soldier to go to Bethlehem and kill all newly born babies. The soldier obeys the order and kills all babies except a baby of Rachael. Angry Herod orders to kill Rachael's baby too.
Herod pays with his life for these crimes - the Death beheads Herod and his body is taken to Hell by the Devil. The soldier soon follows his master.
This part comprises a number of humorous and satirical episodes involving multiple characters - peasants, tradesmen, aristocracy, etc.
While Part 1 was performed throughout Belarus with little variations, Part 2 varies significantly depending on the geographical region of the performance and the imagination of a particular puppeteer.