INDONESIA
Shadow Puppet Theater
Wayang Kulit
Origin of Shadow Puppet Theater
Wayang was established by the beginning of the 11th cent.
Tell stories while using a screen backdrop
Puppeteers used leather shadow puppets or illustrated panels
Techniques, presentation, structure, and music were developed in Central Java at
the court of Surakarta in the 18th cent.
Hindu-Javanese culture had great influence on both the form and content of
wayang. This is obvious in such features as staging techniques, puppet shape,
and dramatic content.
In pre-Hindu/prehistory period in Java, wayang performances were a devotional
ceremony that was used as a way to communicate with people’s ancestors.
In the Hindu period the wayang shifted due to the insertion of the Ramayana and
the Mahabharata.
Were inserted as a way to help spread the religion
Two major types in Bali
Wayang Parwa- A mime of the ethical teaching in Indonesian culture and a medium
of communication. Dates back to the 9th century.
Wayang Ramayana
Both types portray epics from the Ramayana and the Mahabharata
Cultural Influences
Animism, or spirit worship was the first predominant religious form, and one
that still has considerable influence over much religious practice and aspects
of Javanese culture.
Javanese culture has a strong spiritual base
The Javanese and Balinese tend to make their homes inland in the valleys because
the sea is regarded as the home of malignant spirits and the coastal regions are
believed to be very dangerous.
Puppet Theater
Puppet Theater includes:
Animism
Mythology
Legends
History
Imagination
Aspiration
Impression
Cultural expression
The Puppets
Wayang kulit: puppets made of buffalo hide. What the Javanese are fondest of
The Dalang
Plays are not written down, and dalangs don’t memorize set lines of dialogue
Use epic stories as base and elaborate
Some stories can’t be traced to any standard epic. Is a rich tradition of
inherited material and creative potential of dalang.
Dalang is a combination of talents:
Instrumental music
Singing
Poetry
Comedy
Puppetry
Dance movement
Dramaturgy
Religious ritual
Dalang Education
Education is passed from father to son
Children of puppeteers begin getting involved with shadow puppets at age 3
Start going to the plays to watch their father
Help and observe their father when he repairs puppets, cleans them, and airs
them out.
When a child turns 8 they are trained to perform briefly before their father’s
performances.
After each performance the father evaluates and critiques the mistakes of his
son.
Next stage is at age 14 when a son is allowed to substitute for his father
during a day show.
The last step is when the dalang puts his son in charge of a nighttime
performance to see if he is able to accomplish it. If the son is successful then
he will be able to find his own sponsors.
Audience Interaction
There are changes in the audience composition and the way they interact with the
dalang throughout the performance.
During opening formalities and formal speeches audience is still arriving,
chatting, and getting food.
Around midnight is when the main comic interlude arrives. This is when the
audience opens up and their involvement is the highest.
Comic interlude includes direct criticism or ridicule of official messages and
dominant norms and values. Comics also tell the audience what is happening in
the story.
Indonesia
Population: 210 million
80% of population live in villages. Affects the way in which theatre is
performed.
World’s largest predominantly Muslim country
One of world’s primary oil-producing countries
Java and Bali are water-dependent societies. Economic base is in wet-rice
agriculture.
Shadow Puppets & the Government
Regional theatre forms lose their authenticity when performed under official
patronage
Government takes over folk theatre to use for propaganda.
Theatre is also used as a way to go against the elite. It’s a way for local
people to express their attitudes and aspirations.
Wayang performances remain the preferred form for celebrating occasions of state
and Family festivities of government officials. This helps to keep the influence
of aristocratic values in wayang strong.
Social Critique
In Wayang Kulit, variation of plays does not occur in the basic characteristics
of princely heroes but in the dialogue and action of the play, the complications
of the plot, and the comments of the puppeteer. Even if the puppeteer is hired
by the elite he can weave subtle criticisms of the elite into the performance.
This is very appealing to ordinary viewers and villagers.
Politics
The themes of plays concern political and social relations and are often shown
in a critical or satirical way.
Wayang Kulit is multidisciplinary:
Theatrical entertainment
Informational media
Channel for criticism and propoganda
Means of educating about character development
Educating about philosophy
Is an ethical and artistic performance
