DOI Seite / Zitierlink:
https://doi.org/10.11588/diglit.27180#0189
ASSUAN
actors and are exposed to all the dangers of dramatic routine.
The Jger, the Reinhardt of Assuan, resembles the latest
Russians in that he gets his effects exclusively by inspired
producing. The crocodile puppet is placed on a rock: no
ordinary natural rock, of course, but a scene prepared with
due regard for technical and psychological considerations.
It contains the apparatus corresponding to the puppet’s
wires — a movable plank, in fact, painted like a rock, the
crocodile-board. On this reposes the stuffed monster like
the slumbering Siegfried on his upholstered booby-trap.
The board reaches under water and is connected to a system
of rods which are worked from the wings. When the shot
hits, the board slips into the water and the crocodile disap-
pears into the watery trap. After a few days they present
the marksman with the corpse of a beast killed in the south
they have fetched down in the meantime.
Babuschka inquired why they didn’t put the original
crocodile straight on to the rock, and revealed what a feather-
pate she is.
‘It would stink too much,’ remarked the doctor.
Schacht, who is familiar with this drama, related how a
brace of crocodiles fell to an American Nimrod last year.
In memory of it the good man gave a thousand pounds to
the Christian Mission at Assuan.
We joined company with the Behn family and were asked
to dinner. There was abundance of good caviare and moder-
ate wine and claret was served in green goblets. Frau Behn
who comes from Hanover talks through her nose in a refined
voice and prefers words with an 6 in them. What a blessing
to be rid of that horrible Europe. Babuschka is an enchont-
ing person. There is nothing so lovely as sailing through
the eternal sand alone on a ship of the desert. Hunting is
lothsome, on the other hand, especially for these alligators
who are among the sacred beasts. You find the whole soul of
the country in a camel, and the crocodile’s eyes are pathotic.
169
actors and are exposed to all the dangers of dramatic routine.
The Jger, the Reinhardt of Assuan, resembles the latest
Russians in that he gets his effects exclusively by inspired
producing. The crocodile puppet is placed on a rock: no
ordinary natural rock, of course, but a scene prepared with
due regard for technical and psychological considerations.
It contains the apparatus corresponding to the puppet’s
wires — a movable plank, in fact, painted like a rock, the
crocodile-board. On this reposes the stuffed monster like
the slumbering Siegfried on his upholstered booby-trap.
The board reaches under water and is connected to a system
of rods which are worked from the wings. When the shot
hits, the board slips into the water and the crocodile disap-
pears into the watery trap. After a few days they present
the marksman with the corpse of a beast killed in the south
they have fetched down in the meantime.
Babuschka inquired why they didn’t put the original
crocodile straight on to the rock, and revealed what a feather-
pate she is.
‘It would stink too much,’ remarked the doctor.
Schacht, who is familiar with this drama, related how a
brace of crocodiles fell to an American Nimrod last year.
In memory of it the good man gave a thousand pounds to
the Christian Mission at Assuan.
We joined company with the Behn family and were asked
to dinner. There was abundance of good caviare and moder-
ate wine and claret was served in green goblets. Frau Behn
who comes from Hanover talks through her nose in a refined
voice and prefers words with an 6 in them. What a blessing
to be rid of that horrible Europe. Babuschka is an enchont-
ing person. There is nothing so lovely as sailing through
the eternal sand alone on a ship of the desert. Hunting is
lothsome, on the other hand, especially for these alligators
who are among the sacred beasts. You find the whole soul of
the country in a camel, and the crocodile’s eyes are pathotic.
169