Narratively, this character is the refined hero: Rama in the Ramayana, Panji in legendary stories of Java, Arjuna in the Mahabharata.
The refined character will often have a white face and be associated with the noble or divine. A fifth group is the clown ( panasar in Bali, punakawan in Java). While in different areas the names of the types will be slightly different, the major recurring types are refined male ( alus), refined female ( putri), strong male ( gagah) and demon ( denawa). Perhaps because the point of origin of traditional theatre is a solo puppet master, the wayang is a theatre of stylization where a single person can represent many different characters by rules of type. Dancers are wayang orang, “human puppets”, in his show. But dancers must follow the dalang‘s improvised narrative. If the story uses actors instead of puppets, these dancers make their own choreographic choices and, sometimes improvise their own dialogue. He cues the orchestra with taps on the wooden puppet chest. He (or sometimes she) is also responsible for singing mood songs, reciting mantra that safeguard the performance, and infusing humour into the tale. The dalang delivers narration, controls the gong chime orchestra, usually called a gamelan, and normally delivers all the dialogue, as well as moving all the figures. Local theatre therefore depends on a dalang ( dhalang in Javanese), a puppet master/story teller who shapes the overall performance. Traditional theatre is modelled on puppetry which is considered the elder art. The term wayang is usually said to come from bayang (shadow), and shadow theatre puppetry is considered the model for other forms of this puppet, mask or dance performance. Wayang is the traditional theatre of Java, Sunda (West Java), Bali, Lombok, Sumatra, Kalimantan in Indonesia and Malaysia that have been influenced by Javanese culture.
0 kommentar(er)
