Continue doing my Research Paper on Theatre History about China and Indonesian Puppet Theatre

The History of China and Indonesia shadow and/or puppet theatre.

Thesis : This essay will discuss the history of art, culture, and development of China and Indonesia traditional shadow (play) or puppet theatre importance to the modern era.

Unlike the western countries, in Asia puppet theatre is still a common tradition. In China and Indonesia, traditional puppet show is largely spread out around some areas. These Puppet show stories are incorporated to the cultural values, norms, and tradition of a certain areas. This essay will discuss the history of art, culture, and development of China and Indonesia traditional shadow (play) or puppet theatre importance to the modern era. The purpose of this paper is to encourage the younger people from China and Indonesia to be more aware about the unique traditions of puppet theatre, and to develop an innovative aspects in the theatre show using the traditional puppets from the older times. These puppets comes from different sizes, history, and composition. It also has different types such as, Shadow Puppets which are popular in Indonesia, China, Malaysia, Thailand, and South India, Stick Puppets or Wayang Golek of Java, or/and Hand or glove puppets which are common in India, China, and Japan.

In Indonesia, puppet shows or Wayang Golek performances are usually happens in a village and the show itself is informal. People watch the performance during religious rituals, marriages, births, tourist attraction, even funerals. These puppet shows has a very deep meaning to the environment and its surroundings. Villagers think of it as an effective in warding evil spirits and epidemics, avoiding bad events and bringing joy to the community.

In China the puppet is known as Bunraku. The puppets were used in religious ritual and special occasions. The show usually held yearly on a temple ground for an all day puppet performance to celebrate the memorial of ritualistic beginnings of the culture’s traditional art form also the original founder. Both of Indonesia and China puppet show were made as an animistic ritual, where the ancestors were brought back to life by shadows for the purpose of initiating the youth.

In South east Asia specifically Indonesia, the Wayang Golek stories is still based on mystical and religious beliefs. It is based from the legendary tales of Ramayana and Mahabharata. In the beginning years of puppetry, Indonesia shares common myths and rituals (2000 B.C.) with Malaysia. They do some worship such as rice harvest festivals, and ritual religious events. It developed to some repertoires such as, as heroic epos, fairy tales, music, problems, etc. Wayang Kulit is popular for its court productions and other ‘fancy’ traditional (even in modern era).

The traditional puppet plays from China is divided into three different categories which are religious, military and civil. The religious part is taken from Buddhist and Taoist beliefs and practices. The military part comes from the history of China wars of the Three Kingdom. The civil plays are romances, comedies, common problems that are facing the people surrounding from everyday life, etc.

https://omarsu.wordpress.com/2014/12/27/wayang-golek-learn-the-meaning-of-life-from-wooden-puppets/

http://www.xip.fi/atd/china/shadow-and-puppet-theatre.html

https://www.jstor.org/stable/1177504?seq=1#page_scan_tab_contents

http://factsanddetails.com/indonesia/Arts_Culture_Media_Sports/sub6_4c/entry-4056.html

Theatre in Southeast Asia

By James R. BRANDON (https://books.google.com/books?id=g-tAlBV5_LkC&pg=PA49&lpg=PA49&dq=indonesia+and+china+puppet+theatre&source=bl&ots=PfR3Zr2SSW&sig=IRO-xaydemD4amXvjDwKr2OIUg4&hl=en&sa=X&ved=0ahUKEwiCk9TEwJ7QAhUE7SYKHeYDA-c4FBDoAQggMAE#v=onepage&q=indonesia%20and%20china%20puppet%20theatre&f=false)

The Cambridge Guide to Theatre

By Martin Banham

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