Basel artist larva

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Waggis as piper larvae

Basel artist larvae are masks that are worn by active participants during the Basel Carnival . In the parlance of the Basler Fasnacht referred larva what the Germans as a mask is called while under the mask the whole phenomenon is understood, so the costumed and masked person.

history

Beginnings of the larva tradition

According to known sources, the beginnings of Basel Carnival go back to the 14th century ( Böse Fasnacht , 1376). A decree of the government council of 1564 shows that it lasted three days before the Reformation in 1529 and took place after the first Sunday of Lent. The preserved records of carnival games by several authors and incidents on record show that crude humor prevailed and the authorities tried several times to intervene with moral mandates.

Larvae are not mentioned at this time, but masked figures, called "Larfenspiler", who appeared as witches, devils, fools, farmers, kings or moors. The face was "beraemet", smeared with soot or coal. Although this was repeatedly forbidden by the authorities, this custom lasted until the 19th century. Probably the oldest representation of costumed and masked actors in Basel comes from the late 16th century. It shows four masked people with dark-colored larvae. Such larvae made of wood, less often metal, remained the exception.

In the 19th century, simple larvae made of sheet metal, plastered wire or textile gauze, waxed canvas and laminated paper appeared. They came from Italy, France and Thuringia. Mannebach as well as Ohrdruf and Sonneberg in the structurally poor Thuringian Forest in particular delivered wax and paper larvae to Basel for decades. These were mostly modeled on the Italian Commedia dell'arte , local requests were also taken into account: In a catalog from 1925 the mask factory Carl Hanf in Ohrdruf explicitly offered a Waggis larva (the Waggis as a parody of the Alsatian vegetable farmer is a specifically Basler one Carnival figure).

From imported product to artist larva

The imported larvae were for the most part cheap products and were often insufficient to represent a "subject" in a striking way. The “subject” is understood to mean the theme that “plays out” a carnival formation, ie shows it in the parade - an essential aspect of the Basel carnival, which is not least a satirical review of the year. In 1921, the Basel artist larva was invented rather by chance: The Olympia carnival society adopted the theme of "Modern Art", but found no larva that would have matched it. The train boss of the Olympians got in touch with the stage designer of the city theater, Paul Rudin. He made a plaster mold in which larvae that were reasonably suitable were then covered with newspaper.

This actual "original larva" fell to the owner of the Basel company Métraux & Cie. on. Among other things, he traded in carnival articles and, with the help of Paul Rudin, made experiments with masked larvae as early as 1922. The further development went fast, in 1925 the Kunstkredit Basel-Stadt wrote on the instigation of Métraux & Cie. organized a competition for larval designs.

For the time being, the larvae were mainly made of glued canvas, and experiments were also carried out with unusual materials: in addition to the waxed cloth that was warmly placed in molds, masses of wood pulp , clay, chalk and glue were used on a trial basis. For this purpose, the lamination technology was tested with a wide variety of paper qualities. Ultimately, this technique prevailed, and paper was (and is) used, as flat painters use as a floor covering.

Art in series

Adolf Tschudin, who set up a company for the production of individual masks in 1925, was decisive for the further development. He recognized the potential of the numerous artists in Basel and worked with them from the start. Many of them were members of « Group 33 ». Otto Abt , Louis Léon Weber , Irène Zurkinden , Lotti Krauss, Max Wilke and Faustina Iselin worked for Tschudin. This collaboration became the model; models for larvae studios are also known by Otto Plattner , Max Bucherer and Max Varin . Such a close connection between the artist scene and carnival is unique of its kind and is not limited to commissioned work: Jean Tinguely created costumes and larvae for a Basel carnival clique for years, Meret Oppenheim took up the subject of the larva in individual works (which she also carried herself) , Niklaus Stoecklin , Charles Hindenlang and numerous others painted “Fasnachtshelgen” (genre term for carnival pictures) popular with the public. At the same time, the performing artists brought current trends in painting to the larvae studios and, conversely, ensured that the phenomenon spread to the surrounding area, from which they often came ( e.g. Otto Plattner from Liestal ). Various artists also founded their own studios and produced individual larvae or small series there, for example Heiri Strub in the Nase studio .

Independent handicrafts

Drum major larva.
The wearer looks out of the figure's neck.

The technical design of the Basel artist larvae has been continuously refined. Early models were mostly just "facial larvae". They reached from the chin to over the forehead and were simple shapes with few undercuts . In their simplest form, they were carried with a ribbon (like a Venetian mask), later the Güpfi was added - a laminated half-shell the size of a head, worn like a helmet, to which the larva was attached to the side with cardboard strips. This step allowed larger and therefore heavier larvae (can be seen most clearly in the figure of the Waggis, whose characteristic nose is now many times larger).

With the technical experience of the larvae maker, the willingness to experiment and implementation skills increased. More and more complex, also multi-part forms as well as larvae with laminated parts (for example ears or horns) and, last but not least, the unmistakable drum majors emerged . These oversized single heads are meters high and larger. In recent times, the rather narrow repertoire of classical characters has been expanded to include a wide variety of characters, which are often borrowed from films or comic literature. In recent times (since the turn of the millennium) synthetic resins have also been used for applications or as the main building material (see Other Processes ), which allows effects that are unthinkable with pure lamination technology. The same applies to wigs , where sisal fiber and natural bast have given way to a wide range of synthetic bast and specially made synthetic hair wigs (the special and cost-intensive production is necessary because the "hat size" of a larva is ultimately a massive oversize).

Production of the carnival larvae

Basically, depending on the activity of the carrier, a distinction is made between piper, tambourine, guggen and wagon larvae. This also applies to single larvae and has a strong influence on the size and shape of the larva: Whistler larvae only cover the face up to the upper lip and laterally up to the lower jaw, but the mouth is free. On the other hand, drum larvae (not necessarily the same shape) also cover the chin. The larvae of Guggenmusiken are larger than whistler larvae and cover the whole face, but must be modeled in such a way that all instruments can be played. The total weight can be another criterion, as Guggen usually travel on foot. The most expansive and expressive forms are possible with wagon larvae, as there are no restrictions here. However, this classification is not mandatory. There are hardly any limits to creativity with Basel carnival larvae and costumes.

Model and shape

Basic forms, from the top left in the UZS: Pfeifer, Tambour, Guggen and Wagenlarva

Regardless of how you proceed, the larva starts with a positive tone. This is modeled in such a way that portability is guaranteed: During the modeling, attention is paid to where openings for the eyes, mouth and instruments can be made later. Typically - and unlike with Venetian masks - the viewing openings are located in the nostrils or cheek folds of the larva, while the supposed eyes are painted on later. Simple teachings and empirical values ​​are used for this model structure. Then a plaster negative is cast from the clay model. If the mold is made up of several parts, separating seams made of sheet metal or plastic are inserted into the clay model before casting. The plaster mold is dried and varnished on the inside, a release agent ( floor wax , vaseline ) is applied thinly before lamination . Drum major larvae are assembled as individual pieces from several parts, which are often concealed directly from the clay positive without a negative form.

Laminating and cutting

For lamination, the above-mentioned cover paper (thick recycled paper ) is placed in paste . The procedure varies, some pre-torn pieces are first watered and then pasted, and sometimes entire sheets are inserted into paste. A first layer of pieces of paper is placed in the mold like a brick, then an intermediate glue and a second, possibly a third layer. Experienced larvae makers can control the weight of the larva in this process - larger larvae are usually made heavier and therefore more stable. In the case of multi-part molds, each molded part is laminated individually, then the overall shape is put together and the seam is glued from the inside with another row of pieces of paper.

Once the inside of the laminated larva has dried, it is lifted out of the mold. Since the larva is now still moist and flexible, shapes with undercuts (nostrils, ears) can also be easily detached. The surface is coated with paste, smoothed and glued. In the case of multi-part forms, the outer seam is also glued. After drying, the blank is cut to size and the edge reinforced if necessary. Once it is completely dry, it is coated with shellac on the inside to protect the larva from the moisture of the wearer's breath.

Painting and finishing

Once the eye and mouth openings have been made, the larva is individually adapted; this is especially necessary with Pfeifer and Guggen larvae for reasons of comfort. It is firmly connected to the carrying device - formerly the Güpfi , today mostly a construction helmet with a cut-away shield. Then it is reworked, primed and painted. On the basis of the painting style, connoisseurs can see from which workshop and which period a larva originates; occasionally artists also use a recognizable detail as a signature. The larvae are usually painted by hand, less often with an airbrush . Finally, wigs, hats and other decorations are attached.

The service life of a Basel artist larva varies: many Piper and drummers cliques, Guggenheim and cars create every year new subject larvae of. Old larvae are used at pre-Carnival events and on Morgestraich (what is called in Charivari walking ), the subject larva is only carried on the Monday parade. Only in Basel (not in the Basel area ) is it customary for gugges and cliques to have the parent larva , which is worn every Tuesday with the costume . Used larvae are often given away as single larvae and continue to appear for a long time, especially on Tuesdays when the alleys belong to the individual masks. It is not uncommon for active carnivores to have a selection of old larvae, which they alternately carry and occasionally have them remodeled. However, the number of participants in the Basel Carnival shows that thousands of new larvae are made especially for these three days every year.

  • Making the larvae

  • A negative plaster mold for laminating

  • Larvae blank, painted inside and primed white

  • Finished painted and mounted larva of an "Alti Dante" (old aunt)

Other procedures

In addition to the traditional lamination process, which is still in use today, there are two other processes for the production of larvae series: For larvae made of synthetic resin , a silicone mold of the clay model is made instead of a plaster negative and coated with synthetic resin, larvae made of polystyrene are made from sheets as thermoforming .

literature

  • Beat Trachsler: From fool to Ueli. Tradition and change of Basel carnival figures. GS-Verlag, Basel 2004, ISBN 3-7185-0194-5 .
  • Dominik Wunderlin (ed.): Fasnacht, Fasnet, Carnaval im Dreiland. Schwabe Verlag, Basel 2005, ISBN 3-7965-2130-4 .

Web links

Individual evidence

  1. ↑ a b c d Beat Trachsler: From the fool to the Ueli. ISBN 3-7185-0194-5 .
  2. ↑ Basel Carnival larvae - bliss made of paper for the "drey Scheenschte Dääg". on narren-spiegel.de. Retrieved February 25, 2014.
  3. ↑ An Alsatian is not a Waggis! on The web journal by Jürg-Peter Lienhard . Retrieved February 26, 2014.
  4. ^ Corina Christians: Ruth Eidenbenz-Tschudin. Art for Carnival - a piece of cultural history. Basler Zeitung, January 3, 1991, accessed on June 28, 2019 .
  5. ↑ On the death of the Basel artist Heiri Strub. Obituary for the Basel Week of April 30, 2014. Accessed on May 31, 2014.
  6. ↑ D. Wunderlin: Fasnacht, Fasnet, Carnaval im Dreiland. ISBN 3-7965-2130-4 .
  7. ^ Dennis L. Rhein: The Basler Fasnacht in numbers. In: fasnacht.ch. February 23, 2014, accessed May 31, 2014.