Shadow play , also known as shadow puppet , is an ancient form of storytelling and entertainment that uses flat articulated figures of cutting (leather puppets) held between light sources and transparent or fictitious screens. The cut-out shape of the dolls sometimes includes transparent colors or other types of detail. Various effects can be achieved by moving the doll and light source. A talented dalang can make the figures seem to walk, dance, fight, nod, and laugh.
Shadow play is popular in various cultures, among children and adults in many countries around the world. More than 20 countries are known to have shadow show groups. Shadow play is an old tradition and has a long history in Southeast Asia, especially in Indonesia, Malaysia, Thailand and Cambodia. It is an ancient art and folk tradition that lives in China, India and Nepal. It is also known in Egypt, Turkey, Greece, Germany, France and the United States.
Video Shadow play
Histori
Play shadows may be developed from "par" shows with narrative scenes painted on large fabrics and related stories further through the song. Since the show was mostly performed at night the par was illuminated with oil lamps. Shadow puppet theater probably originated from Central Asia-China or in India in the first millennium BC. At least around 200 BC, the figures on the fabric appear to have been replaced with dolls in Indian "tholu bomalatta" performances. This is done behind a thin screen with flat and jointed dolls made of transparent leather painted in color. The dolls are held close to the screen and switched from behind, while the hands and arms are manipulated with the stick attached and the lower leg swinging freely from the knee.
Evidence of shadow puppet performances is found in both ancient Chinese and Indian texts. The most important historical centers of the shadow-show theater are China, Southeast Asia, and the Indian subcontinent. According to Martin Banham, there is little mention of indigenous theatrical activity in the Middle East between the 3rd and 13th centuries, including centuries after the Islamic conquest of the region. The shadow puppet show, Banham said, may have become fashionable in the Middle East after the Mongol invasion and subsequently incorporated local innovations in the 16th century. Little mention of the shadow game is found in Iranian Islamic literature, but is found mostly in Turkish and 19th century Ottoman Empire influenced territories. While shadow play theater is an Asian invention, hand puppets have a long history in Europe. When European merchant ships sailed in search of sea routes to India and China, they helped spread popular entertainment art and cultural practices to Europe. Shadow theater became popular in France, Italy, England and Germany in the 17th century. In France, shadow games are advertised as Ombres Chinoises , while elsewhere they are called "Magic Lantern". Goethe helped build a shadow play theater in Tiefurt in 1781.
Introduction for cinematography
According to Stephen Herbert, popular shadow theaters evolved non-linearly into projected slides and eventually became cinematographic. The general principle in this innovation is the creative use of light, image and projection screen. According to Olive Cook, there are many similarities in the development of modern shadow and cinema games, such as the use of music, sounds, attempts to introduce color and mass popularity.
Maps Shadow play
India
Wayang kulit has become part of ancient Indian culture, especially regionally as Keelu Bomme and Tholu Bommalata from Andhra Pradesh, Togalu Gombeyaata Thol Bommalatta in Tamil Nadu. Leather puppets are also found in pictorial traditions in India, such as mural paintings in temples, folios of freelance, and narrative paintings. The dance form like Chhau from Odisha literally means shadow. Theater of the theater shadow dance drama is usually performed on a stage stage attached to a Hindu temple, and in some of these areas it is called Koothu Madams or Koothambalams . In many areas, drama puppet dramas are performed by artist families who travel around temporary stages during the temple's main festivals. The legends of the Hindu epics Ramayana and Mahabharata dominate their repertoire. However, details and stories vary regionally.
During the 19th century and early parts of the 20th century from the colonial era, Indologists believed that puppet puppets have become extinct in India, although mentioned in ancient Sanskrit texts. In the 1930s and beyond, the fear of extinction proved wrong when evidence emerged that wayang kulit remained a strong rural tradition in the central Kerala mountains, mostly Karnataka, northern Andhra Pradesh, parts of Tamil Nadu, Odisha and South Maharashtra. Marathi people, especially of low-caste, have preserved and vigorously displayed the legends of Hindu epics as folk traditions. The importance of Marathi artists is evident, says Blackburn, of the dalang who spoke Marathi as their mother tongue, in many non-Marathi speaking countries in India.
According to Beth Osnes, the shadow puppet theater of Tholu Bommalata dates back to the 3rd century BCE, and has since attracted the attention of patronage. The dolls used in the Tholu Bommalata show, Phyllis Dircks, are "transparent, four to five-foot colored transparent figures, and have one or two arms that are articulated ". The process of making puppets is a complicated ritual, in which Indian artist families pray, go into seclusion, produce artwork that crave and chalk, then celebrate the "birth of the doll metaphor" with flowers and incense.
The Tholu Pava Koothu Kerala performance uses shadow puppets whose images are projected on a backlit screen. Shadows are used to express creatives and stories creatively in Ramayana . Complete epic performances can take forty-one nights, while a short performance lasts only seven days. One feature of the Tholu Pava Koothu show is that it is the performance of the puppeteer team, while other shadow performances like Wayang in Indonesia are performed by a single mastermind for the same. The story of Ramayana . There are regional differences in India in puppet art. For example, women play a major role in shadow play theaters in most parts of India, except in Kerala and Maharashtra. Almost everywhere, with the exception of Odisha, the dolls were made of tanned, painted and articulated deer skin. Typical translucent leather dolls in Andhra Pradesh and Tamil Nadu, while distinctively opaque in Kerala and Odisha. Artist groups usually carry over a hundred dolls for their performances in rural India.
Indonesia
The shadow puppet theater is called Wayang in Indonesia, where the dramatic story is told through the shadows cast by the doll and sometimes combined with the human character. This art form celebrates Indonesian culture and artistic talent, its origins traced to the medieval spread of Hinduism and the arrival of a skin-based puppet art called Tholu bommalata from southern India. Around 860 CE of the Old Javanese charter published by Maharaja Sri Lokapala mentions three types of players: roof, arcitus, and abanol. Ringgit is depicted in an 11th century Javanese poetry as a shadow figure of the skin.
Wayang kulit , puppet show style Wayang, very popular in Java and Bali. The term that comes from the word wayang literally means shadow or imagination in Javanese, also means "spirit". The word skin means skin, because the material of the doll made is a thin hollow leather sheet made of buffalo leather.
Shadow puppet theater shows in Bali usually at night, which lasts until dawn. The complete group of leather puppets includes the puppeteers, the nayaga (gamelan players) and the sinden (female singers) choir). Some of the nayaga are also performed as a male choir singer. The puppeteers play puppets behind the cotton screen illuminated by oil lamps or modern halogen lamps, creating a visual effect similar to animation. Flat dolls have movable joints animated by hand, using a rod connected to the doll. The handle of the stick is made of buffalo horn carved. On 7 November 2003, UNESCO appointed leather puppets from Indonesia as one of the Masterpieces of the Oral and Intangible Cultural Heritage.
Cambodia
The shadow game is called Nang Sbek Thom , or just as Sbek Thom (literally "big hide skin"), Touch Touch < ") and Sbek Por (" hide colored skins ") in Cambodia.
It was performed during sacred sacred ceremonies, on private occasions, and for the public in the villages. Popular dramas include the Ramayana and Mahabharata, as well as other Hindu myths and legends. The show is accompanied by a Pinpeat orchestra in Cambodia.
The Sbek Thom is based on the Cambodian version of the Indian epic Ramayana, an epic story of good and evil involving Rama, Sita, Lakshmana, Hanuman and Ravana. This is a sacred performance, embodying the Khmer faith built on the foundations and mythology of Brahmanism and Buddhism.
Cambodian shadow puppets are made of cowhide, and their size is usually large enough to describe the entire scene, the characters including the background. Unlike its Javanese counterpart, the shadow puppets of Cambodia are usually not articulated that make the figure's hand immobilized, and also leave a color that retains its original skin tone. The main shadow puppet production center is Roluos near Siem Reap. The puppet statue of Cambodia is one of the cultural performances staged for tourists in addition to the traditional Cambodian dance.
The Sbek Thom numbers are not like dolls because they are large and heavy, with no movable parts. The SGB Touch, on the other hand, is like a doll with movable sections, much smaller and their performances are more popular. The Somb Thom shadow play involves many puppeteers dancing on screen, each dalang plays one character from Ramayana , while a separate narrator recites the story accompanied by an orchestra.
Thai
The shadow theater in Thailand is called Nang yai ; in the south there is a tradition called Nang Talung . Nang Yai puppets are usually made of cowhide and rattan. Performances are usually accompanied by a combination of songs and songs. The show in Thailand was temporarily halted in 1960 due to a fire at a national theater. Nang drama has influenced modern Thai cinema, including filmmakers like Cherd Songsri and Payut Ngaokrachang.
Malaysia
In Malaysia, wayang kulit performances are also known as leather puppets. In Javanese and Malay languages, Puppet means shadow or imagination, while Skin means skin and refers to the skin of a leather puppet. The story presented is usually a fairy tale and a fairy tale of morality. There is a moral education for the dramas that usually describe the battle between Malay shadow performances sometimes considered one of the earliest examples of animation. Leather puppets in the northern states of Malaysia such as Kelantan are affected and similar to Thai leather puppets, while wayang kulit in the southern Malay peninsula, especially in Johor are brought from Indonesian leather puppets with slightly different stories and performances.
Dolls made of leather and manipulated with buffalo sticks or horns. Shadows are cast using oil lamps or, in modern times, halogen light, into the background of cotton cloth. They are often associated with gamelan music.
Chinese
Mainland China
There are some myths and legends about the origins of wayang kulit in China. The most famous is that Chinese shadow dolls originated when the favorite concubine of Emperor Wu Han (156 BC - 87 BC) died and the witch Shao-weng promised to raise his spirits. The emperor could see a shadow that looked like he was moving behind a curtain that had been installed by a wizard around some of the burning torches. It is often said that magicians use shadow puppets, but the original text in the Han Book gives no reason to trust the relationship with shadow puppets. Although there are many previous records of all types of dolls in China, it is clear that Chinese shadow games did not occur until the Northern Song dynasty (960-1127). A 1235 book mentions that puppets were originally cut from paper, but later made of colored leather or parchment. The stories are mostly based on history and half-fictional facts, but comedy is also done.
The shadow theater became very popular at the start of the Song Dynasty when the holiday was marked by the presentation of many shadow dramas. During the Ming Dynasty there were 40 to 50 groups of shadow performances in Beijing alone. The earliest shadow theater screen is made of mulberry paper. The storytellers generally use the art to tell the events between various war kingdoms or stories of Buddhist sources. Today, dolls made of leather and sticks driven are used to tell traditional fairy tales and traditional tales. In Gansu province, accompanied by Daoqing music, while in Jilin, Huanglong music accompanies some of the modern operatic bases.
The Chinese shadow show is featured in the 1994 film Zhang Yimou To Live .
Ping Taiwan
The origins of Taiwan's shadow puppets can be traced to the puppet puppet school of Chaochow. Commonly known as performances of leather monkeys or performances, popular shadow shows in Tainan, Kaohsiung, and Pingtung as early as Qing dynasty (1644-1911 A.D.). The old dwarf estimates that there are at least one hundred shadow puppet troupes in southern Taiwan in the closing years of Qing. Traditionally, the doll figures are eight to 12 inches, and the view of stage and props such as furniture, landscapes, pagodas, halls, and plants are all cut from the skin. As the doll is based on the light penetrating through a translucent piece of cloth, the "shadow" is actually the silhouette seen by the audience in the profile or face on. Taiwan's shadow show is accompanied by a chaochow melody often called "melodies of ministers" because of their similarity to the music used by Taoist priests at the cemetery. A large repertoire of about 300 scripts from the southern school of drama used in puppet shows and dating back to the fourteenth and fifteenth centuries has been preserved in Taiwan and considered an invaluable cultural asset.
Terminology
A number of terms are used to describe various forms.
- ???, pÃÆ' y? ng xÃÆ'¬ is a shadow theater using a leather doll. The numbers usually move behind a thin screen and do not fully show the shadow because it's more than a silhouette shadow. It gives a number of colors, and is not 100% black and white.
- ???, zh? y? ng xÃÆ'¬ is a shadow theater paper.
- ????, zh? ng guÃÆ'³y? ng xÃÆ'¬ is a Chinese shadow theater.
Ottoman Empire
A more perverted comedy tradition of the shadow game was widespread throughout the Ottoman Empire, probably since the end of the 14th century. It centers around the contrasting interplay between figures KaragÃÆ'¶z and Hacivat: an unprincipled peasant and his clever and educated companion. Together with other characters, they represent all major ethnic and social groups in Ottoman culture. It is usually done by a single puppet teacher, who voices up to dozens of characters, and can be assisted by an apprentice who hands over the dolls to her. Performances can be introduced by singers, accompanied by tambourine players. Its origins are unclear, though it may have come from an Asian source.
KaragÃÆ'¶z puppet theater has limbs jointed and made of camel or buffalo skin. Hidden made transparent and colorful, resulting in colorful projections. Dolls usually have a height of 35-40 cm.
During the 19th century this character was adapted to Greek language and culture, KaragÃÆ'¶z and Hacivat to Karagiozis and Hadjiavatis with each character assuming a stereotypical Greek personality. This tradition developed throughout Greece after independence as a popular entertainment for most adult audiences, especially before the competition emerged from television. The stories did, however, preserve the period setting at the end of the Ottoman Empire year. The Karagiozis Theater has undergone some revival in recent years, with the intended audience likely to be a teenager.
The KaragÃÆ'¶z Theater is also adapted in Egypt and North Africa.
Europe
Via Italy, the shadow theater spread throughout Europe at the end of the 17th century. It is known that some Italian plays appeared in Germany, France and England during this period. In 1675, German politician and philosopher Gottfried Wilhelm Leibniz envisioned a kind of world exhibition that would show all kinds of new inventions and sunglasses. In a handwritten document, he should have included a shadow theater.
In 1775 Ambrogio (also known as Ambroise and Ambrose) held ambitious performances in Paris and London. These and other shows are called Ombres chinoises (French for "Chinese Shadows") "and reflect the chinoiserie mode of the day.
The French missionaries had taken a shadow show from China to France in 1767 and put on shows in Paris and Marseilles, which caused a stir. In due course, Ombres chinoises (French for "Chinese Shadows") with local modifications and decorations becomes Ombres franÃÆ'§aises and is rooted in this country.
French playmaker FranÃÆ'§ois Dominique SÃ © Ã © raphin first presented his shadow spectacle at a particle hÃÆ'Â'tel at Versailles in 1771. He will perform at the Palace of Versailles in front of the nobility. In 1784 SÃ © raphin moved to Paris, performing in his permanent theater at the newly opened Palais-Royal from September 8, 1784. The show will adapt to political change and survive the French Revolution. SÃÆ' Â © raphin developed the use of clock mechanisms to automate the show. His niece took over the show after the death of SÃÆ' â € <Â © raphin in 1800 and continued by his heir until the theater closed in 1870.
Art is a popular entertainment in Paris during the 19th century, especially in Paris's famous nightclub district in Montmartre. The cabaret Le Chat noir ("The Black Cat") produced 45 ThÃÆ' Â © atre d'ombres shows between 1885 and 1896 under the management of Rodolphe Salis. Behind the scenes on the second floor of the establishment, artist Henri RiviÃÆ'¨re works with up to 20 assistants in a large performance area, lighted oxy-hydrogen and uses double optical lanterns for the project background. The figures were originally pieces of cardboard, but were replaced with zinc figures since 1887. Various artists took part in the creation, including Steinlen, Adolphe Willette and Albert Robida. Caran d'Ache designed about 50 cut-outs for the highly popular 1888 show L'EpopÃÆ' © e . MusÃÆ' Â © e d'Orsay has about 40 original zinc figures in its collection. Other news stories will produce their own versions and Ombres evolve into a number of theatrical productions and have a major influence on fantasmagoria.
In Italy, the Museum of Precinema collezione Minici Zotti di Padua stores a collection of 70 French leather puppets, similar to those used in the Le Chat Noir cabaret, along with original theater and painted backgrounds, and two magic lamps to project the scene. So far, the identified shadow is La Marche a l'ÃÆ' Â © toile (introduced by Henri RiviÃÆ'¨re), Le Sphinx (introduced by AmÃÆ'Â © dÃÆ'Â © e Vignola), L'ÃÆ'â € Å¡ge d'or and Le Carneval de Venise , and it is suspected that the shadow puppets were created for touring in France or abroad in the end. from the 19th century.
Currently, several theater companies in France are developing shadow play practices: Shadow Theater, Small Mirror Theater, Theater Seat, and The Loupiote.
Australia
Richard Bradshaw is a famous Australian shadow puppeteer. The character of Super Kangaroo is only one in its varied repertoire. Bradshaw's skills have been featured in television programs created by Jim Henson.
The Shadow Theater of Anaphoria (moved to Australia from California) combines a mixture of original dolls and is reconstructed with various light sources. The company is under the direction of Kraig Grady.
Indie Australia Company Shadowplay Studios Debut Game Projection: The First Light Classic inspired by dolls and art style replicates the shadow canvas tradition of playing using black props and sepia backgrounds. They visit Richard Bradshaw to get more insight into the wayang kulit to make their games more authentic by getting references to create puppet game characters.
Stage of the doll today
In the 1910s the German animator Lotte Reiniger pioneered the silhouette animation as a format, in which puppets like puppets were filmed frame by frame. This technique has been safeguarded alive by the next animator and is still practiced today, although cel animation and computer animation have also been used to mimic the display of shadow games and silhouette animations. Chinese traditional wayang performances were brought to audiences in the United States in the 1920s and 1930s through the efforts of Pauline Benton. Contemporary artists like Annie Katsura Rollins have captured the medium, sometimes combining shapes with Western theater.
The shadow theater itself is still popular in many parts of Asia. Prahlad Acharya is one of the best-known Indian magicians that incorporated him into his performance.
In 2010, Tom McDonagh's player introduced a 3-D shadow doll and the use of laser-cut objects.
Sometimes also appear in Western popular culture, for example in:
- Children's TV show Bear in Big Blue House
- The 1983 film Year of Dangerous Living , opened with a scene from Wayang Indonesia puppet
- The 2004 video game Sudeki opened with a shadow puppet show that set the stage for the game.
- The Wayang Arts Center in Atlanta, Georgia has a variety of Chinese shadow puppets in their Asian collection.
- 2010 Films The Karate Kid
- The Disney Channel Show "What a Life" features a puppet show from Sunny Seki.
Gallery
See also
- The cave's history
References
Further reading
- Currell, David, Introduction to Dolls and Crafts, New Burlington Books, (1992) ISBNÃ, 1-85348-389-3
- Logan, David,
- Fan Pen Chen tr., "Visions for the Masses, Chinese Shadow Plays from Shaanxi and Shanxi", Ithaca: Cornell East Asia Series, (2004) ISBN: 978-1-885445-21-6
- Ghulam-Sarwar Yousof, Dictionary of Traditional Theater of Southeast Asia , Oxford University Press, (1994) ISBN: 967-65-3032-8
External links
- Greek Shadows, an interactive education website in the Greek shadow movie theater
- Info about traditional Greek shadow theater, numbers, etc.
- The History of the Discovery Cinematography, pictorial chronology
- Anaphoria Shadow Theater
- A contemporary example of the shadow game by The Clockwork Moth
- An example of a shadow game illustrated in real life
Source of the article : Wikipedia
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