Arrive ensuite un paysan et son ours dansant, suivis d'un marchand, de Bohémiens et de personnalités diverses.

Petrushka's spirit thumbs its nose at his tormentor from beyond the wood and straw of his carcass. Le Maure préfère la joie de sa chambre plutôt que d'aller consoler le pauvre Petrouchka. All of a sudden, Petrushka's ghost appears on the roof of the little theatre, his cry now in the form of angry defiance. The curtain of the puppet theater rises to reveal three puppets hanging on the wall: the Moor, the Ballerina, and Petrushka. Diaghilev a… Then comes a peasant with his As the merrymaking reaches its peak, a cry is heard from the puppet-theater. Les couleurs qui émanent de la pièce inspirent la joie et la fête, le rouge, le vert et le bleu. Without an Introduction, the music begins menacingly. At the end of September 1910, Diaghilev went to visit Stravinsky in Later, Stravinsky wrote: "[i]n composing the music, I had in my mind a distinct picture of a puppet, suddenly endowed with life, exasperating the patience of the orchestra with diabolical cascades of Stravinsky composed the music during the winter of 1910–11 for Diaghilev's Stravinsky's 1946 scoring is for a smaller orchestra:
Drumrolls announce the beginning of the Second Tableau. Le livret (l'histoire) a été imaginé par Alexandre Benois et Igor Stravinsky. 47).Suddenly, the festive music is interrupted by strident brass announcing the appearance of the Master of Ceremonies on the balcony of his booth. Maintenant que la place est vide, le vieux mage aperçoit avec frayeur le fantôme de Petrouchka, et s'enfuit apeuré. The first and most prominent is the Wet-Nurses' Dance, performed to the tune of the folk song "Down the Petersky Road". When the Magician touches them with his flute (to chirps in the orchestra), they seem to awaken. The Moor beats Petrushka. When he has everyone's attention, he produces a flute and begins to play a long, improvisatory melody. The orchestra introduces a chain of colourful dances as a series of apparently unrelated characters come and go about the stage as snow begins to fall. Le vieux mage joue de la flûte pour user de son pouvoir magique. Elle préfère la frivolité avec le Maure, ce qui anéantit le passionné Petrouchka. The Charlatan places the Ballerina in the Moor's room. The fourth and final scene returns to the carnival. Igor Fiodorovitch Stravinsky (en russe : Игорь Фёдорович Стравинский), né le 17 juin 1882 à Oranienbaum en Russie et mort le 6 avril 1971 à New York aux États-Unis, est un compositeur, chef d'orchestre et pianiste russe (naturalisé français en 1934, puis américain en 1945) de musique moderne, considéré comme l'un des compositeurs les plus influents du XXe siècle.
La police questionne le vieux mage, qui cherche à calmer l'ardeur de la foule consternée, en secouant les restes de paille et de sciure de Petrouchka, pour rappeler à tout le monde que ce n'était qu'une poupée sans âme, à la tête de bois. Immediately following the stunning success of The Firebird in June 1910, Diaghilevapproached Stravinsky about a new ballet; the composer proposed the Rite theme. Petrouchka mène une vie morne et solitaire derrière ses barreaux. "As before, drumrolls link the Third Tableau to its predecessor (in the 1911 score, Stravinsky directs that this drumroll should be omitted in concert performance). The equivalent of a carnival "barker", he boasts of the attractions to be seen within. The Ballerina dances perpetually Although Petrushka's room is inside the puppet theater, the Benois design is fantastical, portraying the night sky with stars and a half-moon; abstract icebergs (or snow-capped mountains), and a prominent portrait of the Magician. The clown-puppet flees for his life, with the Moor chasing him, and escapes from the room. They were sacrificing her to propitiate the god of Spring. The Moor (resplendent in turban and exaggerated pantaloons) is swashbuckling.

Alexandre Benois en était le directeur arti… The astonished crowd watches as, with a wave of the Magician's hand, the three puppets begin a vigorous Russian Dance (based on two more Russian folk-tunes: "A Linden Tree Is in the Field" and "Song for St. John's Eve").In Fokine's masterly choreography, they first begin to move their feet (while still hanging on the wall), then burst forth from the puppet theater into the midst of the crowd.

Pendant lété 1910, après le succès de sa première œuvre pour les Ballets russes, LOiseau de feu, Stravinski commence à composer un Konzerstück pour piano et orchestre. Un joueur d'orgue de Barbarie et une danseuse amusent la foule. The two Dancing Girls compete for the crowd's attention to the strains of a ribald French music-hall song about a woman with a wooden leg: "Une Jambe de bois".The Drunken Revelers return (again to the "Song of the Volochobniki") interrupted several times by the Barker's boasts.