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Wayang and Shadow Puppet Theaters

  • Wayang Definition and Overview

    • The term "Wayang" refers to a variety of puppet theaters originating from Indonesia.
    • It is sometimes specifically used to refer to the puppets themselves.
    • Performances often feature shadow puppetry set to traditional music, specifically a Gamelan orchestra in Java and Gender Wayang in Bali.

  • Wayang Kulit

    • Also known as shadow puppets, Wayang Kulit is the most recognized form of Indonesian wayang.
    • Kulit means "skin," indicating the leather material used in crafting the puppets.
    • The puppets are intricately designed and shaped using fine tools and are controlled by buffalo horn handles and control rods.
    • As of November 7, 2003, Wayang Kulit has been recognized as a Masterpiece of Oral and Intangible Heritage of Humanity by UNESCO, prompting Indonesian efforts to preserve this cultural heritage.
    • Common narrative sources for performances include the Hindu epics:
    • Ramayana
    • Mahabharata
    • Serat Menak - Chronicles the heroism of Amir Hamza
    • Ramayana-Bima

Kabuki Theater of Japan

  • Kabuki Overview

    • Kabuki is a traditional form of Japanese drama known for its stylized song, mime, and dance, predominantly performed by male actors.
    • The word originally signified a verb meaning "act dissolutely" and is interpreted as:
    • "Ka" meaning song
    • "Bu" meaning dance
    • "Ki" denoting art or skill
    • The term "Kabuki" is derived from the verb kabuku, meaning to lean or to be out of the ordinary; therefore, it can often represent a form of bizarre theater.

  • Stage Features

    • Hanamichi: A flower path extended into the audience, facilitating dramatic entrances and exits.
    • Kogakudo-kabuki Theaters: These stages include both frontal and side performances, reinforcing connections between actors and viewers.
    • Mawaro Butai: The internal theater features a revolving stage.
    • Suppon: A platform that rises from below the stage.

  • Trap Doors

    • The Hanamichi typically includes multiple trap doors, sometimes totaling 17, from which actors and supernatural beings make their entrances.

  • Categories of Kabuki Plays

    • Jidaimono: Focus on historical or pre-Sengoku period narratives.
    • Sewamono: Domestically centered storytelling related to everyday life post-Sengoku, often family drama and romance.
    • Shosagoto: Primarily dance pieces within Kabuki performances.

  • Historical Context

    • Jidaimono tales are set during pivotal historical moments and were regulated by strict censorship during the Edo period, particularly against the shogunate critique.

  • Elements of Kabuki Performance

    • Mie: An artistic pose by the actor to convey character; expert audiences may shout the actor's house name yagō for appreciation, enhancing the performance.
    • The most notable character roles include:
    • Onna-gata: Female roles
    • Aragoto: The male protagonist role characterized by exaggerated masculine traits.

Peking Opera of China

  • Peking Opera Overview

    • This traditional Chinese theater art form, integrating music, vocal performance, dance, and acrobatics, emerged in the late 18th century and fully developed by the mid-19th century.
    • The Qing Dynasty court saw a surge in popularity for Peking Opera, elevating its status as a cultural heritage treasure of China.

  • Training in Peking Opera

    • Pupils are generally selected at a young age and are trained over a period of seven years under contracts with their parents.
    • Formal training institutions emerged post-1911, where students would begin daily practices as early as 5 a.m. focusing on acting and combat skills.
    • Performers would often engage in evening performances outside the training environment.

  • Roles and Character Types in Peking Opera

    • Sheng: Main male roles.
    • Xiaosheng: Young male character often portrayed as handsome
    • Wusheng: Character roles emphasizing martial prowess, typically skilled in acrobatics and vocal performance.
    • Laosheng: Typically representing older characters with gentle dispositions.
    • Dan: Female roles in performances.

  • Cultural Symbolism in Character Makeup

    • The makeup colors in Peking Opera symbolize various traits:
    • Red: Represents devotion, courage, and uprightness.
    • Black: Denotes fierceness and roughness.
    • Yellow: Symbolizes ambition and cunning.
    • Purple: Indicates righteousness and sophistication.
    • Blue: Associated with loyalty and impulsiveness.
    • White: Often indicates danger or treachery, typical for powerful characters.
    • Green: Represents stubbornness and impulsive behavior in characters.
    • Xiaohualian: A humorous makeup style indicating characters defined by shapeshifting traits.

  • Aesthetic Principles

    • Performers strive to embed beauty within every movement.
    • Standardized movements convey significant narrative elements:
    • Walking in a large circle symbolizes a long journey.
    • Adjustments to costume and headdress foretell an important character dialogue.
    • Gestural representation of door actions and stair movements form essential pantomimic expressions during performances.

  • Performance Activities

    • Viewers are encouraged to watch video clips and attempt character presentations as practical engagement in learning about the forms and movements presented in Peking Opera.