MAPEH notes

WAYANG KULIT
o Wayang refer to kinds of puppet theaters,
sometimes the puppet itself is referred to as
wayang. Performances of shadow puppet
theaters are accompanied by a Gamelan
orchestra in Java, and by Gender Wayang in At the back:
Bali.
o Wayang Kulit, or shadow puppets, are
without a doubt the best known of the
Indonesian Wayang. Kulit means skin, and
refers to the leather construction of the
puppets that are carefully shaped with very
fine tools and supported with carefully
shaped buffalo horn handles and control
rods. Wayang Kulit being manipulated in the back

The stories are usually drawn from the Hindu epics: ELEMENTS OF A WAYANG KULIT SHOW

Ramayana o The gunungan (gunung, mountain) or

Mahabharata
Serat Menak - a story about the heroism of Amir
Hamza
ORIGIN
The shadow theatre has existed, in the lands
between Turkey and China.
o Indonesian shadow puppet performances
originated in India
o Came to Bali from Java between the 11th
and 14th centuries. An 11th century
Balinese royal inscription mentions a
wayang performance.
o Earliest record: Central Java, 907 AD with
story: Bimmaya Kumara
o In Bali, Wayang Kulit performances are
sacred and form part of many ceremonies in
village and family temples.
3 functions: instructive, entertaining and religious.
ELEMENTS OF WAYANG KULIT:
At the front:
kayanon (forest) is the most important part
of the show. It is used to signal the
beginning and the end of the performance.
o The gunungan is placed in the center of the
screen before the drama begins, separating
the opposed groups of characters that lie to
the right and left of the dalang.
o Wayang Kulit Performance consists of
shadows cast on a cotton screen and an oil
lamp.
o In Java, most often used as a light source is
a halogen electric light
o Wayang Sandosa has employed spotlights,
colored lights and other innovation
ELEMENTS OF PERFORMANCE
o The fundamental components of a
performance include:
o the puppeteer, dhalang (Java) / dalang (Bali)
o He is in charge of manipulating the figures,
narrating the story, interpreting the
characters, singing songs, producing sound
effects, and giving cues for the gamelan.
o a hammer used by the dhalang to knock on
the puppet box, cempala
o metal plates that the dhalang hits with his
foot, kepyak
 o a traditional Indonesian orchestra, gamelan
o shadow puppets, wayang kulit
o a light source, blencong
o female singers and a male chorus, pesindhen
and penggerong
o a screen frame and screen, gawang and kelir;
the main focus of the performance
o banana logs, gedebog; the pointed sticks of
the wayang base handle pierce the peeled
trunk of a banana tree and the spongy
substance holds the puppets in place
o a puppet box, kothak
VOCAL AND INSTRUMENTAL FEATURES
Gamelan ensemble is composed mainly by bronze
percussion instruments, augmented by other
percussion instruments, strings and flute. A full
Javanese gamelan ensemble consists of:
GAMELAN ENSEMBLE
o saron - xylophone of heavy bronze bars
o gender - bronze xylophone with resonance
chambers beneath
o bonang - set of bronze bowls
o gong and kempul – hanging gongs
o kenong and ketuk – single inverted bronze
bowl
o gambang – wooden xylophone
o rebab – two-stringed fiddle
o suling – flute
o kendang – horizontal drum beat with the
fingers on both ends
o tjelempung – a zither of thirteen double
strings
The preponderance of bronze instruments gives
gamelan music a bright, lingering sound, ranging
from the slow, majestic melodies of the Javanese
gamelan to the clangorous vibrancy of Balinese
gamelan. Fiddle and flute add delicate counterpoint
to a four-square pattern of percussive melody
In addition to setting the mood or atmosphere of a
play, music has two major dramatic functions in the
theatre. It accompanies the singing/chanting and it
accompanies stage actions including dance. The
importance of each function varies from area to area
and from theater form to theater form.
The Dalang sings the mood songs (suluk) at regular
intervals during performance; in a ninehour
wayangkulit, he may sing fifty or sixty.
Nevertheless, they are considered relatively
unimportant except as mood pieces. The same
generalized lyrics may be used in play after play.
Suluk are never accompanied by the full gamelan
ensemble. Often a single instrument accompanies
the singer, never more than three or four. The
major dramatic function of gamelan music is to
accompany stage action. Entrances, exits and fight
scenes are executed in time to gamelan music.
TH GAMELAN SERVES THREE BASIC
FINCTIONS:
o It serves as a basic melody that is played in a
relatively slow tempo.
o Provides embellishments needed for the
plays.
o Different kinds of gongs are utilized to
emphasize distinct melodies into sections.
CHARACTERS:
Characters with narrow eyes are refined and
elegant. Those with wide eyes are more down to
earth.
Over the head of the dalang there is a special brass
oil lamp(blencong) often shaped like the mythical
bird Garuda. The light shining from the lamp on the
head of the dalang- and making possible the
projection of the shadow of the puppets on the
screen- represents the divine light infused through
the upper chakra in the dalang(intermediary
between gods and humans)
o The Garuda(Sanskrit: Garuda eagle;Pali
Garula) is a large mythical bird on bird like
creature that appears inboth Hindu and
Buddhist religion.
The Ramayana is a popular story to tell with
shadow puppets. Here are some of the characters
from the Ramayana:
Garuda Sita Raksasa
Rama Hanuman Ravana
VARITIES OF WAYANG:
Wayang Klitik→ flat, wooden, carved and painted
puppets that perform.
Wayang Golek→ three-dimensional, costumed,
wooden rod puppets that perform on an open stage.
on a stage.
Wayang Beber→ illustrations on long scrolls that
are unrolled by the puppet master, ‘Dalang’ as he
recites the the story and chants.
Wayang Wong/Orang→ dance and drama
performances that involve live actors who dance
and sing and talk.
Wayang Topeng→ dance and drama performances
that involve live actors who wear masks.
TRASITIONAL ASIAN THATER MUSIC
Peking Opera
o China is known for their traditional theater
art form, the Peking opera, or Beijing opera
which combines music, vocal performance,
pantomime, dance, and acrobatics.
o It started in the late 18th century and became
fully developed and recognized by the mid-
19th century.
o During the Qing Dynasty court, it became
extremely popular and came to be regarded
as one of the cultural treasures of China
Peking Opera training
o Pupils were often handpicked at a young age
by a teacher and trained for seven years on
contract from the child’s parents.
o After 1911, training took place in more
formally organized schools.
o Students of these schools rose as early as
five o’ clock in the morning exercises.
o Daytime was spent learning the skills of
acting and combat and senior students
performed in outside theaters in the evening.
CHARACTERS AND ROLES:
Sheng- a male role, usually a leading one, dates
back to Southern Drama of the Song and Yuan
Dynasties (960-1368). This role appears in operas in
all historical periods. Sheng falls into three sub-
groups: Laosheng, Xiaosheng, Wusheng
Xiaosheng actors- are often involved with beautiful
women by virtue of the handsome and young image
they project.
Wusheng- is a martial character for roles involving
combat. They are highly trained in acrobatics, and
have a natural voice when singing. Is about the
militant or martial males are skilled in the art of
kung fu.
Laosheng- is a dignified older role, these characters
have a gentle and cultivated disposition, and wear
sensible costumes. performed as an aging man or a
middle-age man with beards.
Dan- is the general term in Peking Opera for female
roles. As early as in the Song Dynasty (960-1279),
the Dan role appeared. Southern Drama and
Northern Zaju, which developed during the Song
and Yuan Dynasties (9601368) Nowadays, the Dan
roles are subdivided into Zhengdan (or
Qingyi),Huandan, Wudan and Laodan
Laodan- old woman. She sings in their natural
voices, in a style similar to that of Laosheng but in
milder tones.
Wudan- martial woman is a female martial or
acrobatic fighter, and most of them are in a young
age.
Daomadan are young female warriors. also a female
heroic warrior. They would wear the conventional
costume of a female military officer; plus, a halberd
or a long weapon in hands
Qingyi- are virtuous and elite women Also a role of
the kind of faithful and moral women, especially a
faithful wife, lover, or maiden in distress. and
sometime riding on a horse.
Huadan- are vivacious and unmarried women.
Aalso role of a very lively energetic young woman,
or a young female flirt. Sometimes, a Huadan could
be in a low social status, but with a comic character.
Jing- is a painted face male role who plays either
primary or secondary roles. This type of role entails
a forceful character, which means that a Jing actor
must have a strong voice and be able to exaggerate
gestures. The red color denotes loyalty and
goodness, white denotes evil, and black denotes Purple - uprightness, sophistication and cool-
integrity. headedness
o The different colors and designs on the faces Reddish purple - just and noble character
represent males with different
White - dangerousness, suspiciousness and
characteristics. Some are bold and vigorous
craftiness.
and some are sinister, ruthless, crude and
rash. The voice is loud and clear, and the Commonly seen on the stage is the white face for
movements are exaggerated. The roles the
represent men of high social standing and
powerful villain
good behavior, often court ministers.
Green - impulsive and violent and stubbornness
Chou- is a male clown role.The Chou usually plays
secondary roles whose name also means "ugly". It Xiaohualin- It is a small patch of chalk on around
reflects the traditional belief that the clown's the nose. Clowns of traditional drama who wears
combination of ugliness and laughter could drive this special makeup show any mean and secretive
away evil spirits. character.
VISUAL PERFORMANCE ELEMENTS PHYSICAL STRENGTH
Peking-opera performers utilize four main skills. • Until recently, men were only allowed to be
a part of the opera.
1. Song
2. Speech • The actors must be able to perform martial
3. Dance-acting - This includes pure dance, arts and acrobatic dances.
pantomime, and all other types of dance.
4. Combat - includes both acrobatics and COSTUME AND MAKE UP
fighting with all manner of weaponry. • The costumes used in Peking Opera are very
BEIJING OPERA FACIAL MASKS elaborate.

o The facial makeup in Chinese opera, is a • The actors must apply their own make up
every show.
special feature of a national cosmetic. As
each historical figure or a certain type of AESTHETIC AIMS AND PRINCIPLES OF
person has an approximate spectral type, MOVEMENT:
like sing, play music to the music, so called
“types of facial makeup in operas”. On the • The highest aim of performers in Peking
types of facial makeup in operas sources, the Opera is to put beauty into every motion.
general view is from mask. • The art form, gestures, settings, music, and
o Beijing opera types of facial makeup in character types are determined by long held
operas are based on certain personality, conventions
temperament or some special types of
figures for the use of certain colors • Conventions of movement

Black- fierceness and roughness • Walking in a large circle always

symbolizes traveling a long distance
Blue- loyalty, fierceness, sharpness
• Character straightening his or her
Red- courage, bravery, devotion, loyalty, costume and headdress symbolizes
uprightness that an important character is about
to speak
Yellow- ambition, cool-headedness, fierceness
 • Pantomimic opening and closing of
doors and mounting and descending
of stairs
STAGING ANDCOSTUMES
Stage
• The stage are composed of square platforms,
action on stage is usually visible from at
least three sides; stages were built above the
line of sight of the viewers, but some
modern stages have been constructed with
higher audience divided into two parts by an
embroidered curtain called shoujiu.
Costumes
• Xingtou, popularly known as Xifu, in
Chinese origins of Peking opera. Costumes
can be traced back to the mid-14th century.
• They enable the audience to distinguish a
character’s sex and status at first glance – if
noble or humble, civilian or military,
officials or private citizens, give expressions
to sharp distinctions between of good and
evil or loyal and wicked characters.
Costumes
• Oblong wings (Chizi) attached to a gauze
hat indicate a loyal official. In contrast, a
corrupt official is made to wear a gauze hat
with rhomboidal wing.
Musicians
• They are visible to the audience on the front
part of the stage.
Performers
• They immediately move to the center north
upon entering the stage. All characters enter
from the east and exist from the west.
KABUKI
Kabuki- meaning “off balance” or “unconventional”
Ka for music, bu for dance, and ki for skill
Okuni drew inspiration from Buddhist dances with
contemporary forms
Plays that once lasted a full day, but today only last
about 5 hours.
Includes themes of feuds, revenge, adventure, and
romance
Kabuki is a form of traditional Japanese drama with
highly stylized song, mime, and dance, now
performed only by male actors.
Japanese, originally as a verb meaning “act
dissolutely,’ later interpreted as: ka – song, bu –
dance and ki – art/skill.
Kabuki theater is known for the stylization of its
drama and for the elaborate make-up worn by some
of its performers. Kabuki is therefore sometimes
translated as "the art of singing and dancing". Since
the word kabuki is believed to derive from the verb
kabuku, meaning "to lean" or "to be out of the
ordinary", kabuki can be "bizarre" theater. The
expression kabukimono referred originally to those
who were bizarrely dressed and paraded on a street.
KABUKI STAGE FEATURES
Hanamichi – a flower path, a walkway which
extends into the audience and via which dramatic
entrances and exits are made; Okuni also perform
on a hanamichi stage with her entourage.
Kogakudo - kabuki theaters that have stages both in
front of the audience and along the sides help create
a bond between the actors and viewers
Mawaro butal -the interior of the theater contains a
revolving stage
Suppon - a platform that rises from below the stage
Hanamicho – a walkway that cuts through the
audience seating area to connect the stage with the
back of the theater
Magicians and supernatural beings often make their
entrances from trap doors in the hanamichi
Some stages have 17 trapdoors.
THE THREE MAIN CATEGORIES OF THE
KABUKI
jidai-mono- historical, or pre-Sengoku period
stories
sewa-mono- domestic, or post-Sengoku stories and
shosagoto - dance pieces
Jidaimono- or history plays, were set within the
context of major events in Japanese history. Strict
censorship laws during the Edo period prohibited
the representation of contemporary events and
particularly prohibited criticizing the shogunate or
casting it in a bad light, although enforcement
varied greatly over the years.
Sewamono- focused primarily upon commoners
(townspeople and peasants). It is generally related
to themes of family drama and romance.
ELEMENTS OF KABUKI
Mie - in which the actor holds a picturesque pose to
establish his character and his house name yagō , is
sometimes heard in a loud shout (kakegoe) from
expert audience member, serving both to express
and enhance the audience's appreciation of the
actor's achievement. An even greater compliment
can be paid by shouting the name of the actor's
father. Keshō
ACTORS ARE SEPERATED INTO 2MAIN
CHARACTERS:
Onna-gata - female roles and;
Aragoto - male roles.
Most main characters in Kabuki plays are aragoto,
because of its super-stylized masculine, heroic style.
COSTUMES
• Costumes are swung from sticks or
manipulated by helpers who come on stage
dressed in black hooded obes so they are
invisible to the audience. The female
characters generally wear an elaborate
kimono and obi.
• Pleated hakuma trousers are worn by
characters of sexes. Actors playing both
sexes often have a supported midriff because
a straight and curve-less figure are regarded
the essence of beauty.
• Costume changing is considered as an art.
There are special teams that take care of
complete and partial costume changes and
are done as part of the performances.
• Wigs are important accessories, with each
costume having its own type. Specialized
craftsmen shape the wigs to the head. Wigs
are made of human hair or horse hair or,
bear fur or yak-tail hair imported from Tibet.
WHAT ARE THE MUSICAL INSTRUMENTS
THAT ACCOMPANY THE PEKING OPERA?
• PERFORMANCES ARE accompanied BY
MUSIC - usually played on three types of
instrument: wind, string, and percussion.
• The main instruments are Chinese in origin:
the jinghu, a two-stringed instrument played
with a bow, the yueqin, a four-stringed
instrument that is plucked, a sanxian, a
three-stringed instrument which is also
plucked, the suona horn, Chinese flutes, and
a variety of gongs and cymbals. The
melodies are rhythmic and graceful.
Jinghu- a two-stringed instrument played with a
bow.
Yueqin- a four-stringed instrument that is plucked.
Sanxian- a three-stringed instrument which is also
plucked.
suona horn and Chinese flutes.
a variety of gongs and cymbals
 Geza-ongaku (Music Off-Stage):
     Geza (along with Chobo) is music played
offstage behind a curtain (as "background music,
additional sound effects").  It may also set the mood
with a connotative popular tune ("Yuki", ie -
"Snow").  However, it usually uses little or no
vocals, and is generally more percussion-related.  It
can categorized in 3 ways:
Uta: ("song"), shamisen with vocals (typically
multiple singers) 
Aikata: Shamisen instrumental
Narimono: Hayashi music (flute and percussion). tones. It is generally shorter and incorporates folk
Visible onstage for Noh theatre, the Hayashi songs, Hauta (short tales), Kiyare (rustic folk
ensemble hidden for Kabuki performances. chanting) and Chobokure (rhythmic patter)
(examples can be found in “Yasuna” and
Shosa-ongaku(Music Onstage)
“Michitose”).
or Debayashi, is music played onstage by the
shamisen and Hayashi flute and percussion Narrative Styles:
ensemble, visibly accompanying the acting and
Ki and Tsuke (Hyoshigi): These are basically
dancing.  There may be a Nagauta group in one
auxiliary "signalling" sounds made with two square
section, a Tokiwazu in another, and Gidayu Jorori
oak boards.  When the two boards are struck
musicians in yet another (or one of these groups
together, they produce the ki sound, when they are
may be in the Geza group).  In Kabuki Shosa-
struck against a hardwood board, they produce
ongaku, several unique styles and forms can be
the tsuke sound. These Hyoshigi sounds also act as
found:
additional accents for fight scenes (aragoto sound
Dance and Exposition Styles: effects).
Takemoto: Accompanies actors as they describe Shamisen
scenic settings. The actors attempt to synchronize
The shamisen or samisen , also sangen, both
their lines with the rhythm of the music in this form.
meaning "three strings"), is a three-
Nagauta (Edo-nagauta): Kabuki’s most important stringed traditional Japanese musical
stylistic offering, and is featured in its dances and instrument derived from the Chinese
scenic music.  It uses a hosozao (thin neck) instrument sanxian. It is played with
shamisen which produces high-pitched tones, and is a plectrum called a bachi.
capable of producing delicate melodies.  A Nagauta
Nokan (Fue)
piece is structured as a series of short, thematic
poetic fantasies (for example “Musume Dojoji”, Nokan - a parallel, bamboo flute (fue) is the only
“Echigo Jishi” from "The Lion Dancer from melodic instrument used in noh. The melody of the
Echigo" (1811) and “Fuji Musume” from "The flute has no specific pitch relationship with the
Wisteria Maiden" (1826)).  Nagauta also melody of the chanting.
includes Ozatsuma-bushi songs (narrative material
accompanied by fiery shamisen technique, as found Tsuzumi
in the plays “Kokaji” or “Kanjincho”, below). Tsuzumi, any of a family of Japanese two-
Recital concert arrangements of nagauta include headed drums with hourglass-shaped (waisted)
“Aki no Irogusa” (1845) and “Matsu no Midori”. bodies. The two most commonly used tsuzumi are
Narrative Styles: the ko-tsuzumi and the ō -tsuzumi, found in the
music of Noh and Kabuki theatres.
Tokiwazu: Here, reciters (tayu) and shamisen-kata
(players) use chuzao (medium-neck) shamisen. The Odaiko
style is slow or solemn and typically found in The Odaiko is a large Japanese barrel-shaped drum.
romantic scenes (“Seki no To”, “Modori Kago”, Taut skins are stretched across each end of the
“Masakado”). body, though usually only one end is struck. It
Tomimoto: Grand and elegant with many passages sometimes rests on a stand and is played with two
of high singing, more fluid and sensuous than sticks whose ends may be padded. The odaiko is
Tokiwazu, this style was eventually replaced by… used as a bass drum in many styles of Japanese
music, especially in the theater and for some types
Kiyomoto: Also for romantic scenes. This style is of festive dances.
similar to Tomimoto (recitation with shamisen) but
is more emotive and recited in very high-pitched shime-daiko drum
The shime-daiko is a small Japanese drum. It has a
short but wide body with animal skin drumheads on
both its upper and bottom sides. The hide is first
stretched on metal hoops, then stretched over the
body.