Shadow puppet theatre in Southeast Asia

Part1

Read the text and answer the questions below.

Shadow puppet theatre in Southeast Asia

A

In many cultures today, people view puppets as simply toys for children. In Southeast Asia, however, shadow‑puppet theatre and shadow‑puppet imagery, which date back some 1200 years, fulfil many roles – from ceremonial and ritual purposes to entertainment. Performances are usually held at night, and people of all ages and from all walks of life watch as a puppeteer creates shadowplots by manipulating puppets between a light source and a white cloth screen, while simultaneously conducting the orchestra. The music highlights the action and dramatic moments, accompanies the singing and evokes appropriate moods.

B

Shadow puppets are flat objects traditionally created from the skin of an animal that has been cleaned, stretched and dried. This usually comes from the skin of a buffalo or cow, but bear, deer and other animals are sometimes used too. The shape of the puppet is first drawn onto the skin, and then cut out. Holes are punched all over the puppet to create the appearance and textures of the character’s clothes. Finally these features are painted in and they are fitted with the rods the puppeteers use to move them. Puppeteers can have 200 or more puppets in their collections.

C

While many of these puppets are generic, playing different roles as necessary, others represent specific characters, some of which have special status. These are treated accordingly, often being separately wrapped in cloth or thread, or kept with offerings such as flowers or money.

D

Maintaining hierarchy and social organisation, and thus harmony, has always formed part of the conventions of shadow‑puppet theatre. This is established through the performance itself, as well as through the stage set‑up. For example, puppets are arranged with the honourable characters on the right of the screen, and more negative characters on the left; noble characters are placed close to the screen, and more mundane ones further away and so less clear to the audience. When placed in a travelling case, Thai puppets are traditionally organised with the animals and scenery on the bottom, and the sacred and royal figures on the top. Shadow‑puppet theatre thus represents the surrounding universe, presenting its struggles between harmony and chaos in the performance and striving to achieve a balance between them. Individuals and communities still commission shadow‑puppet theatre performances, often for major life transitions, such as marriage, as well as to celebrate the harvest and to fulfil vows.

E

The plays performed today include stories that originated in India and travelled to Southeast Asia via trade routes, as well as locally developed stories based on characters from these narratives. More recently, completely original stories based on local events have emerged, in which the conventional balance between chaos and harmony is not necessarily established during the course of the performance. Stories are primarily performed orally, and puppeteers usually do not use a written script when performing. They rely instead on memorising basic stories, and often improvise during shows, inventing extra material as they go along.

F

New elements are commonly used to illuminate the screens, and, in some instances, some dramatic shifts in shadow‑theatre in Southeast Asia performances are used alongside earlier forms. While in Java and southern Burma, the theatre has successfully adapted to modern‑day needs and interests, in other areas it has declined dramatically since the mid‑20th century. Reinterpretations of stories and puppet imagery have resulted in the creation of interesting new forms. Thai puppets from the late 20th century are a particularly interesting example. Some of these present traditional forms, but are made of plastic instead of animal skin. Others obviously reflect the fashion of the era – for example Thai puppets, made of animal skin and with traditional body shapes, yet dressed in 1970s‑type flared trousers and high‑heeled shoes, are still to be found performing today.

G

Shadow‑theatre’s popularity in Southeast Asian society has also led to its imagery and characters being adopted outside their original context. For instance, the legendary warrior figure known as Bima, which originated in India as a character in the epic poem Mahabharata, came to be widely revered beyond the world of puppet theatre as a symbol of strength, courage and righteousness over a thousand miles away in Java. Imagery related to the shadow‑puppet form of Bima can still be found there on stone reliefs dating to the 1400s.

H

Shadow‑puppet characters and images have also appeared in many other settings. Coins and medallions with shadow‑puppet figures on them were once worn in Malaysia and Indonesia as talismans. Today, shadow‑puppet‑theatre imagery and puppets now form such an integral part of local culture that industry often uses them to sell products. Mass media has made some puppeteers celebrities, and performances are now broadcast online. The use and reuse of shadow‑theatre elements has a long history and continues to the present day.