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The Stage and the School Chapter 15 Theater and Other Art Forms Pdf

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Ancient course of storytelling

A performance of wayang, an Indonesian shadow boob form

Shadow play, also known as shadow puppetry, is an ancient class of storytelling and entertainment which uses flat articulated cut-out figures (shadow puppets) which are held between a source of light and a translucent screen or scrim. The cut-out shapes of the puppets sometimes include translucent colour or other types of detailing. Various furnishings can be accomplished by moving both the puppets and the low-cal source. A talented puppeteer can make the figures announced to walk, dance, fight, nod and laugh.

Shadow play is popular in various cultures, amid both children and adults in many countries around the globe. More than 20 countries are known to have shadow testify troupes. Shadow play is an former tradition and information technology has a long history in Southeast Asia, specially in Indonesia, Malaysia, Thailand and Cambodia. It has been an ancient art and a living folk tradition in Communist china, India, Iran and Nepal. It is also known in Egypt, Turkey, Syria, Hellenic republic, Germany, France and the United states of america.[1] [2] [3] [iv]

History [edit]

Shadow play probably developed from "par" shows with narrative scenes painted on a large cloth and the story further related through song. As the shows were more often than not performed at nighttime the par was illuminated with an oil lamp or candles. Shadow puppet theatre likely originated in Key Asia-People's republic of china or in India in the 1st millennium BCE.[5] [i] By at least effectually 200 BCE, the figures on fabric seem to have been replaced with puppetry in Indian tholu bommalata shows. These are performed backside a sparse screen with apartment, jointed puppets made of colorfully painted transparent leather. The puppets are held close to the screen and lit from behind, while hands and artillery are manipulated with attached canes and lower legs swinging freely from the knee.[vi]

The show of shadow puppet theatre is found in both old Chinese and Indian texts. The well-nigh significant historical centers of shadow play theatre have been China, Southeast Asia and the Indian subcontinent.[1] [2] [7]

Co-ordinate to Martin Banham, there is little mention of ethnic theatrical activity in the Middle E between the tertiary century CE and the 13th century, including the centuries that followed the Islamic conquest of the region.[8] The shadow puppet play, states Banham, probably came into vogue in the Middle Eastward after the Mongol invasions and thereafter it incorporated local innovations by the 16th century. Little mention of shadow play is found in Islamic literature of Iran, but much is constitute in Turkish and 19th-century Ottoman Empire-influenced territories.[eight]

While shadow play theatre is an Asian invention, hand puppets have a long history in Europe.[ix] As European merchant ships sailed in the search of body of water routes to India and China, they helped diffuse popular entertainment arts and cultural practices into Europe. Shadow theatre became popular in France, Italy, Uk and Deutschland by the 17th century.[ten] [11] In French republic, shadow play was advertised as ombres chinoises, while elsewhere they were chosen "magic lantern".[10] Goethe helped build a shadow play theatre in Tiefurt in 1781.[11] [12]

Prelude to cinematography [edit]

According to Stephen Herbert, the pop shadow theatre evolved nonlinearly into projected slides and ultimately into cinematography. The mutual principle in these innovations were the creative use of light, images and a projection screen.[13] Co-ordinate to Olive Melt, in that location are many parallels in the development of shadow play and modern cinema, such as their utilize of music, voice, attempts to introduce colors and mass popularity.[14]

Bharat [edit]

Shadow puppets are an aboriginal role of India'due south civilisation, particularly regionally every bit the keelu bomme and Tholu bommalata of Andhra Pradesh, the Togalu gombeyaata in Karnataka, the charma bahuli natya in Maharashtra, the Ravana chhaya in Odisha, the Tholpavakoothu in Kerala and the thol bommalatta in Tamil Nadu.[5] [one] [15] Shadow puppet play is too found in pictorial traditions in India, such as temple landscape painting, loose-leafage folio paintings, and the narrative paintings.[xvi] Dance forms such every bit the Chhau of Odisha literally hateful "shadow".[17] The shadow theatre dance drama theatre are usually performed on platform stages attached to Hindu temples, and in some regions these are called Koothu Madams or Koothambalams.[eighteen] In many regions, the puppet drama play is performed by afoot artist families on temporary stages during major temple festivals.[19] Legends from the Hindu epics Ramayana and the Mahabharata boss their repertoire.[19] However, the details and the stories vary regionally.[twenty] [21]

During the 19th century and early on parts of the 20th century of the colonial era, Indologists believed that shadow puppet plays had become extinct in India, though mentioned in its ancient Sanskrit texts.[19] In the 1930s and thereafter, states Stuart Blackburn, these fears of its extinction were institute to be false as evidence emerged that shadow puppetry had remained a vigorous rural tradition in key Kerala mountains, nearly of Karnataka, northern Andhra Pradesh, parts of Tamil Nadu, Odisha and southern Maharashtra.[nineteen] The Marathi people, particularly of low caste, had preserved and vigorously performed the legends of Hindu epics as a folk tradition. The importance of Marāthi artists is evidenced, states Blackburn, from the puppeteers speaking Marāthi as their mother tongue in many non-Marathi speaking states of India.[19]

According to Beth Osnes, the tholu bommalata shadow puppet theatre dates back to the third century BCE, and has attracted patronage ever since.[22] The puppets used in a tholu bommalata performance, states Phyllis Dircks, are "translucent, lusciously multicolored leather figures four to five feet tall, and feature one or two articulated arms".[23] The procedure of making the puppets is an elaborate ritual, where the artist families in India pray, become into seclusion, produce the required art piece of work, then gloat the "metaphorical birth of a puppet" with flowers and incense.[24]

The tholu pava koothu of Kerala uses leather puppets whose images are projected on a backlit screen. The shadows are used to creatively express characters and stories in the Ramayana. A complete performance of the epic can take twoscore-one nights, while an abridged performance lasts as few as seven days.[25] 1 feature of the tholu pava koothu show is that it is a team performance of puppeteers, while other shadow plays such as the wayang of Indonesia are performed past a single puppeteer for the same Ramayana story.[25] There are regional differences within Republic of india in the puppet arts. For example, women play a major role in shadow play theatre in near parts of India, except in Kerala and Maharashtra.[19] Almost everywhere, except Odisha, the puppets are made from tanned deer peel, painted and articulated. Translucent leather puppets are typical in Andhra Pradesh and Tamil Nadu, while opaque puppets are typical in Kerala and Odisha. The artist troupes typically carry over a hundred puppets for their performance in rural Bharat.[19]

Indonesia [edit]

Shadow puppet theatre is chosen wayang in Indonesia,[26] wherein a dramatic story is told through shadows thrown by puppets and sometimes combined with human being characters.[27] Wayang is an aboriginal form of storytelling that renowned for its elaborate puppets and complex musical styles.[28] The earliest show is from the late 1st millennium CE, in medieval-era texts and archeological sites.[29] [xxx] Around 860 CE an Old Javanese charter issued by Maharaja Sri Lokapala mentions three sorts of performers: atapukan, aringgit, and abanol. Ringgit is described in an 11th-century Javanese poem as a leather shadow figure.[6]

Wayang kulit, a mode of wayang shadow play, is specially popular in Coffee and Bali. The term derived from the word wayang literally means "shadow" or "imagination" in Javanese; it also connotes "spirit". The word kulit ways "skin", equally the material from which the puppet is made is sparse perforated leather sheets made from buffalo pare.

Performances of shadow boob theater in Bali are typically at night, lasting until dawn.[27] The consummate wayang kulit troupes include dalang (puppet master), nayaga (gamelan players), and sinden (female choral singer). Some of the nayaga also perform every bit male choral singers. The dalang (puppet primary) performs the wayang behind the cotton screen illuminated by oil lamp or mod halogen lamp, creating visual effects similar to blitheness. The flat puppet has moveable joints that are animated past hand, using rods connected to the puppet. The handle of the rod is made of carved buffalo horn. On Nov 7, 2003, UNESCO designated wayang kulit from Indonesia as one of the Masterpieces of the Oral and Intangible Heritage of Humanity.[28]

Kingdom of cambodia [edit]

Cambodian shadow puppet depicting Sita

In Cambodia, the shadow play is called Nang Sbek Thom,[31] or merely as Sbek Thom (literally "large leather hide"), Sbek Touch on ("minor leather hide") and Sbek Por ("colored leather hide").[32]

It is performed during sacred temple ceremonies, at individual functions, and for the public in Cambodia's villages. The popular plays include the Ramayana and Mahabharata epics, too every bit other Hindu myth and legends.[32] The performance is accompanied by a pinpeat orchestra.[33]

The Sbek Thom is based on the Cambodian version of the Indian epic Ramayana, an ballsy story nigh skillful and evil involving Rama, Sita, Lakshmana, Hanuman and Ravana.[34] It is a sacred performance, embodying Central khmer beliefs congenital on the foundations and mythologies of Brahmanism and Buddhism.[34]

Cambodian shadow puppets are fabricated of cowhide, and their size are usually quite large, depicting a whole scene, including its background. Unlike their Javanese counterparts, Cambodian shadow puppets are usually not articulated, rendering the figure's hands unmovable, and are left uncolored, retaining the original color of the leather. The principal shadow puppet production center is Roluos near Siem Reap. Cambodian shadow puppetry is one of the cultural performances staged for tourists alongside Cambodian traditional dances.[ citation needed ]

The Sbek Thom figures are unlike puppets because they are large and heavy, with no moveable parts. The Sbek Impact, in contrast, are much smaller puppets with movable parts; their shows accept been more than popular.[34] The Sbek Thom shadow play involves many puppeteers dancing on the screen, each puppeteer playing i graphic symbol of the Ramayana, while dissever narrators recite the story accompanied by an orchestra.[33]

Thailand [edit]

Shadow theatre in Thailand is called nang yai; in the due south there is a tradition called nang talung. Nang yai puppets are commonly made of cowhide and rattan. Performances are commonly accompanied by a combination of songs and chants. Performances in Thailand were temporarily suspended in 1960 due to a burn at the national theatre. Nang drama has influenced modern Thai cinema, including filmmakers similar Cherd Songsri and Payut Ngaokrachang.[35]

Malaysia [edit]

Rama in Malaysian shadow play

In Malaysia, shadow puppet plays are also known every bit wayang kulit. In Malay, wayang ways "theater", while kulit means "skin/leather" and refers to the puppets that are made out of leather. Stories presented are commonly mythical and morality tales. At that place is an educational moral to the plays, which usually portray a battle. Malay shadow plays are sometimes considered i of the earliest examples of blitheness. The wayang kulit in the northern states of Malaysia such every bit Kelantan is influenced past and like to Thai shadow puppets, while the wayang kulit in the southern Malay peninsula, especially in Johor, is borrowed from Javanese Indonesian wayang kulit with slight differences in the story and operation.

The puppets are fabricated primarily of leather and manipulated with sticks or buffalo horn handles. Shadows are cast using an oil lamp or, in mod times, a halogen light, onto a cotton cloth background. They are oft associated with gamelan music.

Red china [edit]

Chinese mainland [edit]

In that location are several myths and legends about the origins of shadow puppetry in China. The almost famous ane has it that Chinese shadow puppetry originated when the favorite concubine of Emperor Wu of Han (156 BCE – 87 BCE) died and wizard Shao-weng promised to enhance her spirit. The emperor could see a shadow that looked like her movement behind the curtains that the magician had placed around some lit torches. Information technology is often told that the magician used a shadow puppet, but the original text in Book of Han gives no reason to believe in a relation to shadow puppetry.[36] Although there are many earlier records of all kinds of puppetry in China, clear mention of Chinese shadow play does not occur until the Northern Vocal dynasty (960–1127). A 1235 book mentions that the puppets were initially cut out of newspaper, but later made of colored leather or parchment. The stories were mostly based on history and one-half fact half fiction, simply comedies were too performed.[37]

Shadow theatre became quite popular as early as the Song dynasty, when holidays were marked past the presentation of many shadow plays. During the Ming dynasty in that location were xl to l shadow show troupes in the city of Beijing alone.[ citation needed ] The earliest shadow theatre screens were made of mulberry paper. The storytellers generally used the art to tell events between various state of war kingdoms or stories of Buddhist sources.[38] Today, puppets made of leather and moved on sticks are used to tell dramatic versions of traditional fairy tales and myths. In Gansu province, it is accompanied by Daoqing music, while in Jilin, accompanying Huanglong music forms some of the basis of modern opera.[39]

Chinese shadow puppetry is shown in the 1994 Zhang Yimou film To Live.

Taiwan Ping [edit]

The origins of Taiwan'southward shadow puppetry tin be traced to the Chaochow school of shadow boob theatre. Usually known as leather monkey shows or leather shows, the shadow plays were popular in Tainan, Kaohsiung, and Pingtung every bit early every bit the Qing dynasty (1644–1911 A.D.). Older puppeteers guess that there were at least seventy shadow puppet troupes in the Kaohsiung area lone in the closing years of the Qing.[twoscore] Traditionally, the eight to twelve-inch puppet figures, and the stage scenery and props such as furniture, natural scenery, pagodas, halls, and plants, are all cut from leather. Equally shadow puppetry is based on light penetrating through a translucent sail of cloth, the "shadows" are actually silhouettes seen by the audience in profile or face on. Taiwan's shadow plays are accompanied by Chaochow melodies which are oftentimes called "priest's melodies" attributable to their similarity with the music used by Taoist priests at funerals. A large repertoire of some 300 scripts of the southern school of drama used in shadow puppetry and dating dorsum to the fourteenth and fifteenth centuries has been preserved in Taiwan and is considered to be a priceless cultural asset.

Terminology [edit]

A number of terms are used to describe the dissimilar forms.[ citation needed ]

  • 皮影戏, píyĭngxì is a shadow theatre that uses leather puppets. The figures are usually moved behind a thin screen. It is not entirely a show of shadows, every bit the shadow is more of a silhouette. This gives the figures some color on the screen; they are non 100% black and white.
  • 纸影戏, zhĭyĭngxì is paper shadow theatre.
  • 中国影戏, Zhōngguó yĭngxì is Chinese shadow theatre.

Turkey [edit]

Shadow play Karagöz puppets from Turkey

A more bawdy comedy tradition of shadow play was widespread throughout the Ottoman Empire, perchance since the late 14th century. It was centered effectually the contrasting interaction betwixt the figures Karagöz and Hacivat: an unprincipled peasant and his fussy, educated companion. Together with other characters they represented all the major social groups in Ottoman culture.[41] [42] It was usually performed by a single puppet master, who voiced up to dozens of characters, and could be assisted past an apprentice handing him the puppets. The show could be introduced past a singer, accompanied past a tambourine actor.[43] Its origins are obscure, though probably deriving from an Asian source.[ citation needed ]

Karagöz theatre puppets have jointed limbs and are made from camel or buffalo hibernate. The hide is made transparent and colored, resulting in colorful projections. Puppets are typically 35–40 centimeters in height.[43]

During the 19th century these characters were adapted to the Greek language and culture, Karagöz and Hacivat becoming Karagiozis and Hadjiavatis, with each of the characters bold stereotypically Greek personalities. This tradition thrived throughout Greece after independence as pop entertainment for a largely adult audience, peculiarly before competition arose from television set. The stories did, however, retain the period setting in the late years of the Ottoman Empire. Karagiozis theatre has undergone some revival in recent years, with the intended audience tending to be largely juvenile.[ citation needed ]

Karagöz theatre was likewise adapted in Egypt and North Africa.[44]

Europe [edit]

In Plato's allegory of the cave (circa 380 BCE), Socrates described a kind of shadow play with figures made out of rock, wood, or other materials, presented to prisoners who in all of their life could see nothing more than the shadows on the wall in front of them. This was an imaginative analogy of ideas near (false or limited) the relations between noesis, education and a truthful understanding of reality. Plato compared a wall that screens off the people who acquit the figures to the kind of partitions used by boob (marionette) players to hibernate behind.[45] Apparently, there was no existing form of shadow theatre known in ancient Hellenic republic that Socrates/Plato could refer to.

Shadow plays started spreading throughout Europe at the cease of the 17th century, probably via Italy. It is known that several Italian showmen performed in Germany, French republic and England during this menstruation.[44]

In 1675 German language polymath and philosopher Gottfried Wilhelm Leibniz imagined a kind of globe exhibition that would testify all kinds of new inventions and spectacles. In a handwritten document he supposed it should include shadow theatre.[46] [47]

French missionaries brought the shadow prove from People's republic of china to France in 1767 and put on performances in Paris and Marseilles, causing quite a stir.[ citation needed ] In fourth dimension, the ombres chinoises (French for "Chinese shadows") with local modification and embellishment, became the ombres françaises and struck root in the country.[ commendation needed ] The popularity of ombres chinoises reflected the chinoiserie manner of the days.[44]

French showman François Dominique Séraphin first presented his shadow spectacle in a hôtel particulier in Versailles in 1771. He would keep to perform at the Palace of Versailles in front end of royalty. In 1784 Séraphin moved to Paris, performing his shows at his permanent theatre in the newly opened Palais-Royal from 8 September 1784. The performances would adapt to the political changes and survived the French Revolution. Séraphin developed the use of clockwork mechanisms to automate the show. His nephew took over the evidence after Séraphin's death in 1800 and it was continued past his heirs until the theatre closed in 1870.[44] [48] [49] [50]

In 1775, Ambrogio (too known equally Ambroise and Ambrose) staged aggressive shows in Paris and London.[44]

Stagehands moving zinc figures backside the screen of the Théatre d'Ombres in Le Chat Noir

The art was a popular amusement in Paris during the 19th century, especially in the famous Paris nightclub commune of Montmartre.[ citation needed ] The cabaret Le Chat noir ("The Black Cat") produced 45[51] Théatre d'ombres shows between 1885 and 1896 under the direction of Rodolphe Salis. Behind a screen on the 2d floor of the establishment, the creative person Henri Rivière worked with upwardly to 20 administration in a large, oxy-hydrogen dorsum-lit functioning area and used a double optical lantern to project backgrounds. Figures were originally cardboard cut-outs, just were replaced with zinc figures since 1887. Diverse artists took function in the creation, including Steinlen, Adolphe Willette and Albert Robida. Caran d'Ache designed circa 50 cut-outs for the very popular 1888 bear witness L'Epopée. Musée d'Orsay has circa forty original zinc figures in its drove. Other cabarets would produce their own versions; the ombres evolved into numerous theatrical productions and had a major influence on phantasmagoria.[44] [52] [53] [54]

French shadow puppets

Role of the collection of the Museo del Precinema, Padua, Italia

In Italia, the Museum of Precinema collezione Minici Zotti in Padua houses a drove of 70 French shadow puppets, similar to those used in the cabaret Le Conversation Noir, together with an original theatre and painted backdrops, as well as two magic lanterns for projecting scenes. And so far, the shadow plays identified are La Marche a l'étoile (introduced by Henri Rivière), Le Sphinx (introduced by Amédée Vignola), 50'Âge d'or and Le Carneval de Venise. The shadow puppets were presumably created for a tour in French republic or away at the end of the 19th century.[ citation needed ]

Present, several theatre companies in France are developing the exercise of shadow puppets: Le Théâtre des Ombres,[55] Le Théâtre du Petit Miroir, Le Théâtre Les Chaises, and La Loupiote.

Australia [edit]

Richard Bradshaw is an Australian shadow puppeteer known for his characters similar "Super Kangaroo".[56] Bradshaw'south puppetry has been featured in idiot box programs made by Jim Henson as well as the long-running ABC children's TV serial Play School.

The Shadow Theatre of Anaphoria[57] (relocated to Australia from California) combines a mixture of reconstructed and original puppets with multiple sources of lights. The visitor is under the direction of Kraig Grady.

Australian company Shadowplay Studios' debut game Projection: First Calorie-free was inspired past shadow puppetry and its art fashion replicates the traditional shadow play canvas using black props and sepia backgrounds. They visited Richard Bradshaw to gain more insight into shadow puppetry, to make their game more accurate and to become references for the game's shadow puppet characters.[58]

Shadow puppetry today [edit]

In the 1910s, the German language animator Lotte Reiniger pioneered silhouette blitheness as a format, whereby shadow-play-like puppets are filmed frame-past-frame. This technique has been kept alive by subsequent animators and is nonetheless practised today, though cel animation and computer animation has besides been used to imitate the look of shadow play and silhouette animation. Traditional Chinese shadow puppetry was brought to audiences in the U.s. in the 1920s and 1930s through the efforts of Pauline Benton. Gimmicky artists such as Annie Katsura Rollins have perpetuated the medium, sometimes combining the form with Western theatre.[59]

Shadow theatre is still popular in many parts of Asia. Prahlad Acharya is one famous Indian magician who incorporates it into his performances.

In the 2010s, performer Tom McDonagh introduced 3-D shadow puppets and the use of laser-cut objects.[60]

It too appears occasionally in western popular culture, for example in:

  • The Broadway musical The Lion King
  • The children's television show Bear in the Large Blue Firm
  • The 1983 flick The Year of Living Dangerously, opens with a scene from an Indonesian wayang shadow play.
  • The 2004 video game Sudeki opens with a shadow boob play setting the phase for the game.
  • The Eye for Puppetry Arts in Atlanta, Georgia has an extensive variety of Chinese shadow puppets in their Asian drove.[ commendation needed ]
  • The 2010 motion picture The Karate Kid
  • The Disney Channel show What a Life features shadow puppetry from Sunny Seki.[61]
  • Music videos, notably "The Free Design" past Stereolab and "Twice" by Footling Dragon.

Gallery [edit]

  • Galleries

  • Short video showing shadow play in Kota Bahru, Malaysia, including behind the scenes

See likewise [edit]

  • Allegory of the cave
  • Solar eclipse

References [edit]

  1. ^ a b c d Orr, Inge C. (1974). "Puppet Theatre in Asia". Asian Folklore Studies. Nanzan University. 10 (1): 69–84. doi:ten.2307/1177504. JSTOR 1177504.
  2. ^ a b Beth Osnes (2001). Acting: An International Encyclopedia. ABC-CLIO. p. 302. ISBN978-0-87436-795-9.
  3. ^ Beth Osnes (2010). The Shadow Puppet Theatre of Malaysia: A Study of Wayang Kulit with Performance Scripts and Boob Designs. McFarland. pp. 61–63. ISBN978-0-7864-5792-2.
  4. ^ "UNESCO - Decision of the Intergovernmental Committee: xiii.COM x.A.7". ich.unesco.org . Retrieved 2019-12-17 .
  5. ^ a b Fan Pen Chen (2003), Shadow Theaters of the World, Asian Sociology Studies, Vol. 62, No. 1 (2003), pp. 25-64
  6. ^ a b Rawlings, Keith (1999). "Observations on the historical development of puppetry".
  7. ^ Martin Banham (1996). The Cambridge Paperback Guide to Theatre. Cambridge University Press. pp. 434, 526–531, 906, 1114–1115. ISBN978-0-521-44654-9.
  8. ^ a b Martin Banham (1996). The Cambridge Paperback Guide to Theatre. Cambridge University Press. pp. 241–242. ISBN978-0-521-44654-ix.
  9. ^ Martin Banham (1996). The Cambridge Paperback Guide to Theatre. Cambridge University Press. pp. 887–888. ISBN978-0-521-44654-9.
  10. ^ a b Annette Kuhn; Guy Westwell (2012). A Lexicon of Picture show Studies. Oxford University Press. p. 371. ISBN978-0-19-958726-1.
  11. ^ a b Max von Boehn (2013). A Photographic Guide to the History of the Shadow Boob Theatre in the W. Read. pp. 352–355. ISBN978-1-4474-8098-iii.
  12. ^ Evelyn 1000. Moore; Patricia Anne Simpson (2007). The Aware Eye: Goethe and Visual Culture. Rodopi. pp. 255–256. ISBN978-90-420-2124-2.
  13. ^ Stephen Herbert (2000). A History of Pre-cinema. Taylor & Francis. pp. four–ix, Introduction affiliate. ISBN978-0-415-21148-2.
  14. ^ Olive Cook (1963), Movement in Two Dimensions, Hutchinson, pages 47-58
  15. ^ "Puppet Forms of Bharat". Heart for Cultural Resources and Training (CCRT), Ministry of Civilization, Government of India. Archived from the original on 2013-05-fifteen.
  16. ^ Lopes, Rui Oliveira. (2016) "A new light on the shadows of heavenly bodies. Indian shadow puppets: from still paintings to move pictures". Religion and the Arts, vol. 20, no. 1-2, pp. 160-196. DOI: ten.1163/15685292-02001008
  17. ^ Claus, Peter J.; Sarah Diamond; Margaret Ann Mills (2003). South Asian folklore: an encyclopedia. Taylor & Francis. pp. 108–110. ISBN0-415-93919-iv.
  18. ^ Beth Osnes (2001). Acting: An International Encyclopedia. ABC-CLIO. pp. 152, 179–180. ISBN978-0-87436-795-nine.
  19. ^ a b c d due east f grand Stuart Blackburn (2003). Peter J. Claus, Sarah Diamond and Margaret Ann Mills (ed.). South Asian Folklore: An Encyclopedia : Afghanistan, Bangladesh, Bharat, Nepal, Islamic republic of pakistan, Sri Lanka. Taylor & Francis. pp. 543–544. ISBN978-0-415-93919-5.
  20. ^ Arjun Appadurai; Frank J. Korom; Margaret Ann Mills (1991). Gender, Genre, and Ability in Due south Asian Expressive Traditions. Academy of Pennsylvania Press. pp. 379–391. ISBN0-8122-1337-eight.
  21. ^ Stuart Blackburn (1998), Looking Across the Contextual Divide: Studying Performance in South India, Southern asia Research, Book xviii, Issue one, pages i-11, Quote: "If performance is the cultural organisation of behaviour, it is interesting that these cultural forms vary then widely from area to area. To return to southward India, tales are told and songs sung throughout the region, but the same is non true for long narrative singing (epic and the like), or for dance, or for drama; even masks, so widespread in Kerala and other parts of south Bharat, are non significant in Tamil culture."
  22. ^ Beth Osnes (2001). Acting: An International Encyclopedia. ABC-CLIO. p. 335. ISBN978-0-87436-795-ix.
  23. ^ Phyllis T. Dircks (2004). American Puppetry: Collections, History and Performance. McFarland. p. 110. ISBN978-0-7864-1896-ane.
  24. ^ John Bell (1999). Puppets, Masks, and Performing Objects. MIT Press. pp. 146–147. ISBN978-0-262-52293-9.
  25. ^ a b Beth Osnes (2001). Acting: An International Encyclopedia. ABC-CLIO. pp. 335–336. ISBN978-0-87436-795-9.
  26. ^ James R. Brandon (2009). Theatre in Southeast Asia. Harvard University Printing. pp. 44–56, 143–145, 352–353. ISBN978-0-674-02874-six.
  27. ^ a b Don Rubin; Chua Soo Pong; Ravi Chaturvedi; et al. (2001). The World Encyclopedia of Gimmicky Theatre: Asia/Pacific. Taylor & Francis. pp. 184–186. ISBN978-0-415-26087-nine.
  28. ^ a b ""Wayang puppet theatre", Inscribed in 2008 (3.COM) on the Representative List of the Intangible Cultural Heritage of Humanity (originally proclaimed in 2003)". UNESCO. Retrieved 10 Oct 2014.
  29. ^ Miyao, J. (1977). "P. L. Amin Sweeney and Akira Goto (ed.) An International Seminar on the Shadow Plays of Asia". Southeast Asia: History and Civilization. Japan Society for Southeast Asian Studies (7): 142–146. doi:10.5512/sea.1977.142.
  30. ^ Yves Bonnefoy (1993). Asian Mythologies. University of Chicago Press. p. 162. ISBN978-0-226-06456-7.
  31. ^ Martin Banham (1995). The Cambridge Guide to Theatre . Cambridge University Press. p. 153. ISBN978-0-521-43437-9.
  32. ^ a b Pech Tum Kravel (1995). Sbek Thom: Khmer Shadow Theater. SEAP Publications. pp. iii–iv, ii–8. ISBN978-0-87727-620-3.
  33. ^ a b Martin Banham (1995). The Cambridge Guide to Theatre . Cambridge University Press. p. 155. ISBN978-0-521-43437-9.
  34. ^ a b c Pech Tum Kravel (1995). Sbek Thom: Khmer Shadow Theater. SEAP Publications. pp. iii–5. ISBN978-0-87727-620-three.
  35. ^ Nang Yai Archived 2002-12-25 at the Wayback Machine from Mahidol University.
  36. ^ Fan Pen Li Chen (2007). Chinese Shadow Theatre: History, Popular Religion, and Women Warriors. ISBN9780773531970.
  37. ^ Dolby, William (1978). "The Origins of Chinese Puppetry". Message of the Schoolhouse of Oriental and African Studies, University of London. 41 (i): 97–120. doi:10.1017/S0041977X00057803. JSTOR 615625.
  38. ^ Ewart, Franzeska Thou. [1998] (1998). Let the Shadows speak: developing children's linguistic communication through shadow puppetry. ISBN 1-85856-099-3
  39. ^ Chinavista. "Chinavista.com." The Shadow prove. Retrieved on 2007-05-26.
  40. ^ "Puppeteering". Free China Periodical. 1 January 1986. Retrieved 28 December 2021. The origins of Taiwan shadow puppetry trace dorsum to the 17th or early 18th Centuries. When General Koxinga (1624–1662) expelled Dutch occupation forces from Taiwan, growing numbers of settlers crossed the Strait to the island. Among them were shadow puppeteers from Chaochow in Kwangtung Province. And in the interstices of time, their artform took root and gradually developed into an indispensable element of rural life in southern Taiwan. The early troupes of shadow puppeteers full-bodied in the Tainan, Kaohsiung and Pingtung areas. According to contemporary shadow-puppet master Chang Tien-pao, his grandfather once told him that in the waning years of the Ching Dynasty (1644–1911), there were 40-odd puppet troupes in Kangshan, and thirty-odd in the single village of Hsialiao, both in Kaohsiung County—an astounding popularity.
  41. ^ Emin Şenyer: Karagoz Traditional Turkish Shadow Theatre
  42. ^ Schneider, Irene (2001). "Ebussuud". In Michael Stolleis (ed.). Juristen: ein biographisches Lexikon; von der Antike bis zum xx. Jahrhundert (in German) (second ed.). München: Beck. p. 193. ISBNiii-406-45957-9.
  43. ^ a b Ersin Alok, "Karagöz-Hacivat: The Turkish Shadow Play", Skylife - Şubat (Turkish Airlines inflight magazine), February 1996, p. 66–69.
  44. ^ a b c d e f David Robinson in Light and Movement, Chapter 1, 1995
  45. ^ "Plato, Republic, volume 7, page 514". www.perseus.tufts.edu . Retrieved 2022-03-14 .
  46. ^ Rossell, Deac (2002). Leibniz and the Lantern.
  47. ^ Gottfried Wilhelm Leibniz (1675). Drôle de Pensée, touchant une nouvelle sorte de représentations . Retrieved 26 January 2017.
  48. ^ Altick, Richard Daniel (January 1978). The Shows of London. Belknap Press of Harvard Academy Press. ISBN978-0674807310.
  49. ^ "Total text of "Les pupazzi noirs"". Retrieved 13 August 2012.
  50. ^ Stafford, Barbara; Terpak, Frances (one February 2002). Devices of Wonder: From the Earth in a Box to Images on a Screen. Getty Enquiry Institute, U.South. p. 77. ISBN978-0892365906.
  51. ^ "Musée d'Orsay: Le Cabaret du Chat Noir (1881-1897)".
  52. ^ The Spirit of Montmartre: Cabarets, Humour and the Avant-Garde, 1875-1905. edited past Phillip Dennis Cate and Mary Shaw (1996) , excerpted on line as Henri Riviere: Le Chat noir and 'Shadow Theatre', Australian Centre for the Moving Paradigm
  53. ^ "Musée d'Orsay - Works in focus: Infantry mounting an assail".
  54. ^ "montmartre-underground.com - Montmartre: Le cabaret du Chat Noir (2) rue Victor Massé".
  55. ^ "Theatre des Ombres : une compagnie spécialisée dans le théâtre d'ombreset les ombres chinoises, la réalisation de glasses d'ombres, lesreprésentations de glasses d'ombre chinoise, atelier et spectacle de théâtre d'ombre, stage de theatre d'ombres, shadow puppets, shadows show, shadowtheater".
  56. ^ Logan, D, Puppetry, p.13
  57. ^ The Shadow Theatre of Anaphoria
  58. ^ "Projection: Beginning Light – An Interview with Michael Chu". Puppet Identify News. 13 February 2018. Retrieved xvi April 2018.
  59. ^ Hayter-Menzies, Grant (2013). Shadow Woman: The Boggling Career of Pauline Benton. McGill-Queen'due south Printing. pp. 158–159. ISBN978-0-7735-8909-4.
  60. ^ "Dark Art". Scientific discipline Friday.
  61. ^ "Disney's "What A Life!" with the Seki Family and Shadow Puppets". YouTube. Archived from the original on 2021-12-12. Retrieved 1 January 2014.

Farther reading [edit]

  • Currell, David, An Introduction to Puppets and Puppetmaking, New Burlington Books, (1992) ISBN 1-85348-389-3
  • Logan, David, Puppetry, Brisbane Dramatic Arts Company (2007) ISBN 978-0-9804563-0-1
  • Fan Pen Chen tr., "Visions for the Masses; Chinese Shadow Plays from Shaanxi and Shanxi", Ithaca: Cornell Eastern asia Series, (2004) ISBN 978-ane-885445-21-6
  • Ghulam-Sarwar Yousof, Dictionary of Traditional Southeast Asian Theatre, Oxford University Printing, (1994) ISBN 967-65-3032-eight

External links [edit]

  • Greek Shadows, an interactive, educational website on Greek shadow-theater

adornoangst1988.blogspot.com

Source: https://en.wikipedia.org/wiki/Shadow_play

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