8

Theater Arts of China, Japan,

Indonesia, and Thailand

Module in Arts 8
Fourth Quarter – Module 1 (Week 1-4)

ANNALYN E. BUSETAN
Developer

Department of Education . Cordillera Administrative Region

Schools Division Office of Mt. Province
 Republic of the Philippines
DEPARTMENT OF EDUCATION
Cordillera Administrative Region
SCHOOLS DIVISION OF MOUNTAIN PROVINCE
Bontoc, Mountain Province
Published by:
Learning Resource Management and Development System

COPYRIGHT NOTICE
2020

Section 9 of Presidential Decree No. 49 provides:

“No copyright shall subsist in any work of the Government of the
Philippines. However, prior approval of the government agency of office
wherein the work is created shall be necessary for exploitation of such work
for profit.”
This material has been developed for the implementation of K to12
Curriculum through the Curriculum Implementation Development System
(CID) - Learning Resource Management and Development System (LRMDS).
It can be reproduced for educational purposes and the source must be
acknowledged. Derivatives of the work including an edited version, an
enhancement or supplementary works are permitted provided all original work
and acknowledged and the copyright is attributed. No work maybe derived
from this material for commercial purposes and profit.

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 What I Know
Multiple Choice.

Read each statement carefully and choose the letter of the correct answer. Write
your answer before the number.

1. The Peking Opera costume is called_________.

A. Balinese costumes C. saya and barong tagalog
B. Kimono and Obi D. xingtou
2. The performance elements that includes both acrobatics and fighting with all
manner of weaponry in Peking Opera is ________.
A. Combat C. song
B. Dance acting D. speech
3. _______________ is the main male role in Peking Opera.
A. Chou C. Jing
B. Dang D. Sheng
4. Red color in makeup in Peking Opera means______.
A. Courage, bravery, and uprightness
B. Fierceness, ambition, and cool headedness
C. Roughness and fierceness
D. Suspicious and craftiness
5. These are the props always seen on stage in Peking Opera.
A. Bed and pillows C. drums and cymbals
B. Chairs and tables D. wood blocks and sticks
6. A platform that raises the performers from below the stage in Japan’s kabuki.
A. Hanamichi C. Mawaro butal
B. Kogakudo D. suppon
7. It is a Japanese terminology which means male roles.
A. Aragato C. Suppon
B. Onna-gata D. Hanamichi
8. It is the Japanese traditional dance.
A. Kabuki theater C. peking opera
B. Nang shadow puppet D. wayang kulit puppet show
9. In Kabuki theater art, a fan as props symbolizes
A. Bird C. rain
B. insects D. wind
10. The female character in Kabuki wear an elaborate _______________.
A. Balinese costume C. saya and barong tagalog
B. Kimoro and Obi D. xington
11. It is the shadow puppet of Indonesia.
A. Kabuki C. Peking Opera
B. Nang D. Wayang Kulit
12. The puppeteer of Java, Indonesia is called____________.
A. Blencong C. gawang
B. Dalang D. kothak

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 13. The performance of shadow puppet theater are accompanied by music
of_______.
A. Gamelan C. piano
B. Guitar D. rondalla
14. It is the teacher and presenter of Nang Talung.
A. Nai nang C. Ramayana
B. Nang yai D. Sida
15. The shadow puppet show in Thailand are ____________.
A. Leather monkey show C. togalu Gombeyaata
B. Nang D. Wayang Kulit

What’s In

In the previous lesson. You learned about the South, Central and West Asian
Arts specifically from India, Pakistan, Uzbekistan, Kasakhstan, Tajikistan,
Turkmenistan, and Kyrgystan. They have different architectural designs, carving,
printed cloth design, jewelry making designs, woodworks, ceramics and silverworks
designs. While West Asia is rich in Cultural Heritage that are clearly evident in the
variety and quality of their regional arts and crafts.

What’s New
Word Search.

Find words related to the principles of composition and organization in theater art in
the following box of jumbled letters.
There are 12 words to look for.
D Y N A M I S M A B M S P
A V U P W P A A A V M E R
B A P N E L S B S M O L O
C R O O I O D A E T V E P
I I T K R T F L R S E C O
H A R M O N Y A F A M T R
G T W M T Z G N C R E I T
K I E B Y X J C V T N V I
F O C U S C K E B N T I O
L N F V U V K D V O K T N
O M T K O L O G I C J Y J

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 What’s In It
Theater arts are collaborative performing art forms that use live
performances(actors and actresses) or through the use of puppet/s to present
historical events, stories of love, current events and many more to audiences in a
specific place.
Live performers clad with their different clothing designs and styles,
headdresses, makeups, and hairstyles may communicate to the audience through
combinations of facial expression, hand and body gestures, music, and dance.
Puppet Theater or shadow theater uses a puppet which are held between a
source of light and a translucent screen accompanied by the skill and techniques of
a puppeteer who manipulates and at the same time uses his/her vocal arts to convey
the message to the audience and to some with the accompaniment of their
traditional musical instruments.

Lesson 1. Theater Arts ( Live Performance)

A. Peking Opera of China

- Peking Opera is a traditional theater art form of China. Also called as
Beijing Opera, combines music, vocal performance, pantomime, dance
and acrobatics. It started in the 18th century until it is fully developed and
recognized by the mid-19th century. During the Qing dynasty court it
became extremely popular and regarded as one of the cultural treasures
of China.
- Performers of Peking Opera started training at a very young age ,
handpicked by teachers and trained for seven years on contract from the
child’s parent. It became organized school in 1911.

Roles and Characters

1. Sheng – is the main male role in Peking opera.
a. Xiaosheng – actors are often involved with beautiful women by virtue of
the handsome and young image they project.

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 b. Wusheng – is a martial character for roles involving combat. They are
highly trained in acrobatics and have a natural voice when singing.

c. Laosheng – is a dignified older role. These characters have a gentle and

cultivated disposition, and wear sensible costumes.

2. Dan – refers to any female role in Peking Opera

a. Laodan – an old woman

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b. Wudan – a martial woman

c. Daomadan – are young female warriors

d. Qingyi – are virtuous and elite women

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 e. Huadan – are vivacious and unmarried women

3. Jing – is a painted face male role who plays either primary or secondary
roles.
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 integrity.

4. Chou – is a male role. The chou usually plays secondary roles whose name
also means “ugly”. It reflects the traditional belief that the clown’s combination
of ugliness and laughter could drive away evil spirits.

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Visual Performance Elements
1. Four main skills.
a. Song c. dance- acting(include pure dance, pantomime,
and all other types of dance
b. Speech d. combat – includes both acrobatics and fighting
with all manner of weaponry.
2. Peking Opera colors used in masks/ makeup
 Red – devotion, courage, bravery, uprightness, and loyalty
 Black – roughness and fierceness
 Yellow – fierceness, ambition, and cool-headedness
 Purple – uprightness, sophisticated, and cool-headedness
 Reddish purple – just and noble character
 Blue – loyalty, fierceness and sharpness
 White – dangerousness, suspiciousness, and craftiness. Commonly seen
on the stage is the white face for the powerful villain.
 Green – impulsive, violent and stubbornness
 Xiaohualian ( the petty painted face)- is a small patch of chalk on and
around the nose. Clowns of traditional drama who wear this special
makeup show a mean and secretive character.

Aesthetic Aims and Principles of Movement

The highest aim of performance in Peking Opera is to put beauty into every
motion. The art forms, gestures, settings, music, and character types are determined
by long held conventions. Conventions of movement includes:
a. Walking a large circles symbolizes a long distance
b. A character straightening his/her headdress and costume symbolizes that an
important character is about to talk.
c. Pantomimic is the opening and closing of doors, mounting and descending of
stairs.

Staging and Costumes

Stage: - square platforms, the action on stage should be visible from at least three
sides.
- Stages were built above the line of sight of the viewer,
- modern stages have been constructed with higher audience seating
divided into two parts by an embroidered curtain called shoujiu.
Costume: - Xingtou, popularly known as Xifu.
- Costumes can be traced back to the mid-14th century.
- They enable the audience to distinguish each role of the performers.
- Oblong wings(chizi) attached to a gauze hat indicate a loyal official.
- A corrupt official is made to wear gauze hat with rhomboidal(shaped like a
rhombus) wing.
Props: - a table and at least one chair, which can be turned into such diverse
objects as a city wall, a mountain, or a bed.

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 - A whip is used to indicate a horse
- An oar symbolizes a boat.
Musicians: are visible to the audience on the front part of the stage.
Viewers: always seated south of the stage, therefore, north is the most important
direction.
Performers: immediately move to the center north upon entering. All characters
enter from the east and exit from the west.

B. Kabuki Theater of Japan

Kabuki is a form of traditional Japanese drama with highly stylized song,

mime and dance, now perform mainly by male actors. Japanese originally
used this as a verb meaning “act dissolutely”, later interprets the word:
Ka- for song, bu for dance, and ki for art/skill.
- Kabuki is known of its drama and for the elaborate makeup worn by some
performers.
- Kabuki is translated as “the art of singing and dancing”
- Kabuki believed to derive from the word kabuki which means to lean or to
be out of the ordinary, kabuki can be bizarre theater.

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 - Kabukimono referred originally to those who were bizarrely dressed and
paraded on a street.

Stage Features

Hanamichi – a flower path, walkway which extends into the audience

Okuni – performs on a hanamichi stage with her entourage.
Kogakudo – kabuki theater that has stages both in front of the audience and along
the sides help creates 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.

Three Main Categories of the Kabuki Play

 Jidaimono- historical or per-Sengoku period stories
 Sewamono – domestic or post-Sengoku stories. Focused primarily upon
commoners(townspeople and peasants) generally related to family themes
drama and romance.
 Shosagoto – dance pieces

Elements of Kabuki
 Mie – in which the actor holds a picturesque pose to establish his
character and his house name yago. An even greater compliment can be
paid by shouting the name of the actor’s father Kesho
Two Main Categories of an Actors
1. Onna-gata - Refer to the female roles.
2. Aragoto – refer to the male roles. Most main characters in Kabuki
plays are aragato, because of its super stylized masculine, heroic style.

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 Makeup- one of the most iconic parts of Kabuki. Actors apply their own
makeup by painting their faces and necks white, the stylized lines in red,
black or blue.
Red and blue – aragoto roles
Very little paint – onna-gata playing young women
Rice powder – used to create the white oshiroi base for the
characteristics stage makeup

Kumadori – enhances or exaggerates facial lines to produce dramatic

animal or supernatural character. The color of the kumadori is an
expression of the character’s nature.
1. Red lines – passion, heroism, righteousness and other positive traits
2. Pink- youthful joy
3. Light blue- even temper
4. Pale green- peacefulness
5. Blue or black- villainy, jealousy, and other negative traits
6. Green – supernatural
7. Purple- nobility

 Kabuki props:
Flowing water – usually represented by fluttering rolls of linen or
creatures like insects and foxes.
Fans – used to symbolize wind, a sword, a tobacco pipe, waves, or food.
 Costumes – are swung from sticks or manipulated by helpers who come
on stage dressed in black hooded robesso. They are invisible to audience.
Female characters – generally wear an elaborate kimono and obi ( a
sash for traditional Japanese dress)
Hakuma trousers – are worn by characters of sexes. Actors playing both
sexes often have a supported midriff for a straight and curveless figure are
regarded the essence of beauty.
 Costume changing – is considered as an art. These are done as part of
the performances by special teams that take care of the complete and
partial costume changes.
 Wigs – important accessories. Each costumes has its own type. Wigs are
made of human hair, horse hair, bear fur, or yak-tail hair imported from
Tibet.

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Lesson 2: Theater Arts: Puppet Theater

A. Wayang Kulit of Indonesia

http://en.wikipedia.org/wiki/File:Wayang_Pandawa.jpg
 Wayang refers to kinds of puppet theaters. The puppet itself is referred to
as wayang. Performance of shadow puppet theaters are accompanied by
a gamelan orchestra in Java, and by gender wayang in Bali.
 Wayang kulit, or shadow puppets, are best known of Indonesian wayang.
 Wayang Kulit performance consist of shadow cast on a cotton screen and
an oil lamp. In Java, a halogen electric light is most often used as light
source.
 Kulit means skin and refers to the leather construction of the puppets that
are carefully shaped with very fine tools and supported with caped buffalo
horn handles and control rods.
 UNESCO recognized Wayang Kulit as a Masterpiece of Oral and
Intangible Heritage of Humanity on November 7, 2003 and required
Indonesians to preserve their heritage.
Stories are usually drawn from Hindu epics:
 Ramayana
 Mahabharata
 Serat Menak – story about the heroism of Amir Hamza

Ramayana - Bima Mahabharata- Arjuna

http://en.m.wikipedia.org/wiki/File:Wayang_Kulit_Museum_Wayang_02.jpg

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The Handwork in Making a Wayang Kulit Figure
 The puppet start from master models(typically on paper) which are traced
out onto skin or parchment, providing the figures with an outline and with
holes that need to be cut such as a mouth and eyes.
 Figures are smoothened with glass bottle and primed. Structure is
inspected and further smoothening follows before individual painting,
which is done by another craftsman.
 Finally, the movable parts(upper arms, lower arms with hands, and the
associated sticks for manipulation) are mounted on the body, which has a
central staff by which it is held.

Elements of Performance
The Fundamental Components of a performance include:

 The puppeeter, dhalang(Java) or dalang(Bali), sits behind a screen

made of white cotton stretched on a wooden frame.

http://en.m.wikepedia.org/wiki/Dalang_(puppeteer)
 A hammer used by the dhalang to knock on the puppet box, cempala
 A metal plates that the dhalang hits with his foot, kepyak
 A traditional Indonesian orchestra, gamelan
 Shadow puppets, Wayang kulit
 A light source, blencong
 Female singers and a male chorus, pesindhen and pengerong
 A screen frame and screen gawang and kelir, the main focus of the
performance
 Banana logs, gedebog, the pointed sticks of the wayang base handle
pierce the peeled trunk of a banana tree and the spongy part holds the
puppets in place.
 A puppet box, kothak

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 B. Nang Shadow Puppets Show in Thailand

www.slideshare.net/mobile/magienboo/kto12-4th-arts-nang-shadow-puppet-of-thailand

 Shadow puppet(Thai:Nang) was one form of public entertainment in south of

Thailand. Still very popular at village festivals, temple fairs, and celebrations
such as marriages.
 Characters are made from intricately cut out and articulated shapes of leather.
 They are delicately colored but this does not show during performance as the
puppets appear only in shadow against a white sheet, with light shining
through from behind.
 They are manipulated with rods that control movements of the arms and legs.
 The Nang is usually performed during the country’s dry season,
February to August.

Performances
 The puppet shows have religious themes or have an episode from the
RAMAYANA epic.
 Also a reflections, poems, and songs about local events and matters of
current interest in the district or country.
 Mr Suchart Sapsin, is a man of many talents, expert craftsman in making the
puppets and an award-winning writer and poet. He is a narrator, speaking or
singing all the parts using different voices and is a superb mimic.
Message and Themes
 Nang recites tales of the gods and contemporary people through stories of
love, current events, and tradition.
 The shadow puppet used in the Nang represents the norms and mores of
Thai society.
 Themes commonly seen in Nang performances includes family conflict,
fantastic adventures of a wandering hero, star-crossed lovers and romantic
tales, hermits teaching magic to their apprentices, and abandoned children
seeking their loved ones.
 Nang attempts to relay to the audience the importance of Thai values and
ideologies in a changing world. However, mystical and historical events
remain fundamental in all performances.

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 Two Types of Nang

www.slideshare.net/mobile.magienboo/kto12-4th-arts-nang-shadow-puppets-of-thailand
1. Nang Talung - is played with leather puppets, each representing a separate
character, about 50 centimeters high. They usually possess a movable,
jointed
arm controlled by a string. Smaller puppets than the Nang Yai.
- Nai Nang are the teachers and presenters of the Nang Talung. Nai Nang
must vary their techniques and story lines to maintain audience interest.
- Characters are the gods and goddesses, kings and queens, magical
figures, and comedians. It is the Nai Nang’s responsibility to act as an
intermediary between the community and the gods, thus the Nang and its
producers are highly respected and greatly entwined into Thailand’s
cultural fibers.

2. Nang Yai – Large shadow puppet normally made of cowhide and rattan, a
large, decorated scene and characters measuring around two meters high
and a meter wide. They do not have jointed arms, but themes and styles
remain the same.
The Nang’s theater troupe usually consist of five to ten puppeteers and
musicians.

What’s More

Assessment 1. Know my History.

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Classify the given word/s and phrases inside the box to its proper theater art form.

 Traditional theater art form of China  Entertainment in South

Thailand
 Became strongly popular during the Qing dynasty  Started in the 18th century
 Song, speech, dance, combat
 Consist of five to ten puppeteers
 Traditional art of Japan
 Aragoto  Jidaimono
 Nai Nang
 Pesindhen
 Hakuma trousers
 Accompanied by gamelan  UNESCO recognized

 Perform during country’s dry season

THEATER ARTS
Peking Opera Kabuki

Wayang Kulit Nang shadow

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Assessment 2. The Beauty in Me by the Elements and Principles of Arts.

Identify the elements and principles of arts used in each Peking opera and
Kabuki character representations and makeup, Thailand and Indonesia’s
puppet shadow design.

Elements: line, shape, color, texture, value, form, space

Principles: balance, unity, rhythm, movement, emphasis, contrast, pattern and
repetition.

Designs Elements Principles

Example: Color: dark brown, Repetition: circles
black, light brown, Emphasis: Black
Line: curve lines, color
straight line
Form: free form

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Assessment 3. I am Unique

A. From lesson 1 and lesson 2, explain what makes each theatrical forms
unique from each other. Four to five sentences only.
Peking
Opera:_____________________________________________________________
___________________________________________________________________
___________________________________________________________________
___________________________________________________________________
___________________________________________________________________
___________________________________________________________________
Kabuki:_____________________________________________________________
___________________________________________________________________
___________________________________________________________________
___________________________________________________________________
___________________________________________________________________
___________________________________________________________________
Wayang
Kulit:_______________________________________________________________
___________________________________________________________________
___________________________________________________________________
___________________________________________________________________
___________________________________________________________________
___________________________________________________________________
Nang
shadow:____________________________________________________________
___________________________________________________________________
___________________________________________________________________
___________________________________________________________________
___________________________________________________________________
___________________________________________________________________

B. What are the differences of the Peking Opera and Kabuki theater to that
of Wayang Kulit and Nang of Thailand? Three to four sentences only.

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 What I Have Learned
Fill in the blanks:

A traditional theatrical art form of China is called the _________(1)_________. It

started in the ________2___________ until it is fully developed and recognized.
_______3______is the main male role in this Opera while ____4_____ refers to any
female role.
Kabuki also is a form of traditional Japanese drama with highly stylized
___5____, mime and drama. That is why kabuki is translated as
“_________________6_______________________”.
Peking Opera of China and kabuki of Japan are live performances by skilled actors
and actresses in a theater.

Wayang Kulit of _____7___________and Nang of ______8___________

are considered as ________9_______theater. One common performance of these
shadow theaters is a Hindu epic called________10___________.

Factors that are crucial in these theatrical forms are facial expression,
_____11____and ___12________ gestures, as well as skills and technique in
manipulating the ______13_________to maintain audience interest.

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 What I Can Do
Theater arts performances uses combinations of facial expression, hand and
body gestures. These are very important factors needed to convey the idea of an
event being performed.
In our everyday situation, these factors are also crucial as we may be facing
circumstances where vocal communication may not be possible.
Example: A worker who was trapped inside a tall building may shout at you
unfortunately, you cannot hear her because of the distance.
In this situation, she may use hand gestures and other body gestures to
convey a message about her situation.

On the space provided below:

1. Give at least five facial expression, hand or body gestures.
 You may draw or cut any gestures from old magazines and
newspapers and paste it.
2. What message does each gesture wants to express?

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23
 Post Assessment
Multiple Choice.
Read and understand each statement carefully. Choose the letter of the correct
answer and write it before the number.

1. Actors in Peking Opera who are often involve with beautiful women by virtue
of the handsome and young women.
A. Dan C. Wusheng
B. Laosheng D. Xiaosheng
2. The main male role in Peking Opera.
A. Jing C. Sheng
B. Laudan D. Wudan
3. Refers to the female role in Peking Opera.
A. Ban C. Sheng
B. Dan D. Xiaosheng
4. A props in Peking Opera that is used to indicate a horse.
A. Boat C. stick
B. Oar D. whip
5. This is translated as the “art of singing and dancing”.
A. Kabuki C. Peking Opera
B. Nang D. Wayang Kulit
6. A flower path, stage feature in Kabuki that extends into the audience.
A. Hanamichi C. Mawaro
B. Kogakudo D. Okuni
7. This refers to the female roles in Kabuki.
A. Laosheng C. Wusheng
B. Onna-gata D. Xiaosheng
8. This is used to create the white Oshiroi base for the stage makeup of the
Kabuki actors.
A. Blue paste C. Rice powder
B. Red and blue paste D. water
9. Kulit in Wayang Kulit puppet theater means _____________ that refers to the
leather construction of the puppets.
A. Dhalang C. Mask
B. Kulit D. skin
10. The Wayang Kulit puppeteer is called________________.
A. Dhalang C. Mask
B. Kulit D. skin
11. A traditional Indonesian ensemble that is used in Wayang Kulit.
A. Cempala C. Gamelan
B. Kepyak D. Rondalla
12. It is the light source in Wayang Kulit.
A. Blencong C. Gamelan
B. Cempala D. Kothak
13. Type of Nang that is played with leather puppet measuring about 50
centimeters high.
A. Dan C. Nang Yai
B. Nang Talung D. Sheng

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14. A large, decorated character measuring around two meters high and a meter
wide.
A. Dan C. Nang Yai
B. Nang Talung D. Sheng
15. It is called the shadow puppet in Thailand.
A. Kabuki C. Peking Opera
B. Nang D. Wayang Kulit

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 26
Key Answer:
What I Know What’ In
1. D dynamism, variation, unity, plot,balance, contrast,
2. A movement, selectivity, proportion, logic, focus,
harmony
3. D
4. A
5. B What I Have Learned
6. D Peking Opera, 18th century, sheng, Dan, song, art of singing
7. A and dancing, Indonesia, Thailand, puppet, Ramayana,
8. A hand, body, puppets
9. D
10. B
11. D
12. B
13. A
14. A
15. C
Post Assessment
1. D
2. C
3. B
4. D
5. A
6. A
7. B
8. C
9. D
10. A
11. C
12. A
13. B
14. C
15. B
Key Answer
 REFERENCES

Department of Education-Bureau of Learning Resources, Music and Arts 8,

Learner’s Material, Pasig City, First Edition 2013, Reprint, 2016

Theater Arts: https://en.wikipedia.org/wiki/theatre.

Images of Kabuki Theater:

https://www.slideshare.net/mobile/JohnMichaelGian1/japanese-theater-kabuki-
mapeh -8. Accessed February 2, 2021

Images of Peking Opera:

https://www.slideshare.net/mobile/JohnMichaelGian1/pekingopera-mapeh-grade-8.
Accessed February 2, 2021

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For inquiries and feedback, please write or call:
Department of Education – Cordillera Administrative Region
Schools Division of Mountain Province
Bontoc, Mountain province
Andres Cuyasan, PDO: 09208194245
09386194154

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