I.
PUPPET
THEATRE IN JAVA & BALI
A.
Three significant forms
1.
Wayang Kulit
2.
Wayang Golek
3.
Wayang Klitik
B.
Purpose
1.
Educate, inform, entertain
2.
Convey history, philosophy & values of culture
3.
Convey moral lessons
C.
Religious nature of performance
1.
The performance itself is an offering to the gods &
spirits
2.
The puppeteer - Dalang
a)
Performs rituals, sacrifices, meditation & prayers
associated with the performances
b)
Respected, priest-like role
II.
WAYANG
KULIT
A. General information
1.
Terms
a)
Wayang - shadow or puppet
b)
Kulit - leather or skin
2.
Most popular puppet theatre form in Indonesia
3.
May have evolved from Indian forms
introduced 200-400 A.D.
4.
Occurs in Java & Bali
5.
First record of performance in Central Java - 907 A.D.
6.
First recorded appearance in Bali - late 10th C.
B.
Dalang
or Puppeteer
1.
Manipulates puppets
2.
Narrates story
3.
Knows all the stories by heart
4.
Adds topical material (related to current village life)
5.
Must be able to improvise
6.
Has wide vocal range to express different characters
7.
Master linguist - 7 languages used in performance, including:
a)
Sanskrit
(1)
For prayers
b)
Old Javanese court language - Kawi
c)
Middle Javanese
(1)
Associated w/ancestors & cultural heritage
d)
Modern Balinese or Javanese
(1)
Several politeness levels - high, middle & low
e)
Indonesian
f)
English
8.
Language nuances indicate differences in
a)
Rank, caste, social standing
b)
Politeness of the character
c)
Relationship of the speaker to the person being addressed or
spoken about
9.
Leads orchestra & chorus
10.
Contributes percussive musical elements
a)
Foot mallet & hand mallet on puppet box
11.
Performs rituals, sacrifices, meditation & prayers
12.
Passes knowledge from father to son
C.
Puppet characteristics
1.
Flat pierced leather shadow puppets
a)
Lace-like - very finely detailed
b)
Elaborate costumes & head-dresses
c)
Made of water buffalo hide
d)
Face & feet in profile
e)
Body of figure shown frontally
f)
Face, body, legs & feet are one unit
g)
Moveable arms & hands
h)
Arms jointed at shoulder & elbow
2.
Social status, caste & psychological qualities of puppet
characters are indicated by
a)
Size of puppet
b)
Physical features (especially facial)
(1)
Symbolic meaning to size & shape of puppet features
c)
Costumes & ornamentation
3.
Types of puppets
a)
Noble characters are small & refined
(1)
Called alus (Java)
or halus (Bali)
b)
Animals & strong brutish characters are larger, more
muscular
(1)
Called gagah
(Java) or kras (Bali)
c)
Demons & ogres - - are largest
(1)
Have fangs to indicate non-human, animal nature
d)
Servant clowns are medium sized with rounded features &
physical deformities
(1)
Called panakawan (Java)
or bondres (Bali)
e)
Symbolic opening puppet - functions as a scenic element
(1)
Symbolizes the Wayang world
(2)
Symbolizes the Tree of Life
(3)
Used to mark beginning & end of play; changes of scene
(4)
Used for special effects
(a)
Storms & the disruption of the cosmic order
(5)
Java -Gunungan -
resembles a temple spire
(6)
Bali - Kayon -
more rounded shape
4.
Javanese puppets have elongated figure style
a)
Evolved during Muslim rule
5.
Balinese puppets have more rounded, realistic features
6.
100-500 puppets used in a single performance
D.
Gamelan
orchestra accompanies performance
1.
Seated behind dalang
(puppeteer)
2.
Cued by the dalang
3.
Balinese orchestra much smaller than Javanese orchestra
a)
Bali - as few as 4 instrumentalists
b)
Java - as many as 30 instrumentalists
E.
Gamelan instruments
1.
Gongs
a)
Kempul
b)
Go-ong
2.
Several xylophone-like instruments
a)
Titil
b)
Panerus
c)
Saron
d)
Bonang
e)
Gender (bronze)
f)
Gambang (wooden)
g)
Kenong
3.
Drum
4.
Bamboo flute
5.
Rebab - Bowed stringed instrument resembling a mandolin or
lute
6.
Vocalists - individual female singer or female chorus
F.
Lakon
- story - course of events or action
1.
Several hundred
2.
List scenes & characters
3.
Description of general action
4.
Serve as guides to the performance
5.
Performances are improvisational
G.
Stories derive from many sources
1.
Indian Hindu epics
a)
Mahabharata & Ramayana
b)
Indonesian versions, in an ancient Sanskrit-derived language,
are called Kakawin (Java)
2.
Pre-Hindu indigenous story cycles - Babad
3.
Stories derived from Islamic sources
a)
The Menak cycle
b)
Muslim hero King Amir Hamzah
4.
Creative combinations of elements from these sources &
their corresponding value systems
a)
Epic heroes removed from original context
5.
The Calonarang (in
Bali only)
a)
Indigenous story of magical powers & horrible witches
6.
The Adventures of Prince Panji
7.
Chronicles of Balinese history dating from early Indian/Hindu
influence, contained in the Lontar
(Palm leaf manuscripts)
H.
General story line
1.
Palaces of opposing monarchs - main conflict presented
a)
Noble hero
b)
Wicked opponent
2.
Messengers sent
3.
Rivals meet in person
4.
Preparations for battle
5.
Hero experiences many doubts & inner conflicts
6.
Great battle - climax & turning point
7.
Right is victorious
8.
Victorious hero returns to home palace - celebration &
honor
I.
Favorite hero characters
1.
Arjuna, Rama, Panji, Amir Hamzah
J.
Mood - generally serious
1.
Also includes comic scenes & topical satire
K.
Qualities & functions
1.
Moral teachings, adventure, slapstick humor
2.
Educational & a propagandistic
L.
Language used
1.
Most characters
a)
Kawi
- old Javanese court language
b)
Dates from the 10th - 14th C.
2.
Servant characters
a)
Local colloquial language
M.
Performance characteristics
1.
Ritual prayers & meditation (by Dalang, to prepare himself) begin the performance
2.
LONG! - 10 hours
a)
9:00 p.m. ‘til dawn without intermission
N.
Performance area
1.
Pavilion of an aristocrat’s house
a)
Village situation - partially outdoors
b)
In front of a house or building, with the front wall removed
(1)
Shadow screen replaces wall
c)
Dalang is seated cross-legged behind the shadow screen
d)
Coconut oil lamp - blencong
- located behind screen
e)
Audience primarily in front of screen
2.
Performance sponsored by wealthy family
a)
Entertainment for entire village - on special occasions
(1)
Weddings; funerals, circumcisions, significant anniversaries
III.
WAYANG
GOLEK
A.
Doll-like carved wooden rod puppets
B.
Three-dimensional figures
C.
Arms & heads are moveable
D.
Lower body covered by a sarong
(skirt-like cloth wrap)
E. Developed in late 16th Century
F.
Stories derived from Islamic sources
1.
The Menak cycle
2.
Muslim hero King Amir Hamzah
G.
60-70 puppets used in a single performance
H.
Puppets portray stock character types, are thus somewhat
interchangeable
I.
No shadow screen
J.
Gamelan orchestra is large, includes one female vocalist or a
female chorus
IV.
WAYANG
KLITIK
A.
Flat wooden rod puppets
1.
Two dimensional
B.
Centered in East Java
C.
Very rarely performed now
