kABUKI, PEKING OPERA, Wayan Kulit

1. MAPEH 8
ROBBIE JEAN B. ALVARADO
DLNNNHS

3.  is a form of traditional Japanese drama
with highly stylized song, mime and
dance, now performed only by male
actors.
 The expression “kabukimono” referred
originally to those who were bizarrely
dressed and paraded on a street.

5.  A flower path. A
walkway which
extends into the
audience via which
dramatic entrances
and exits are made.

6.  Stages both in
front of the
audience and
along the sides
that help create a
bond between the
actors and the
viewers.

7.  The interior of the
theater containing
a REVOLVING
STAGE

8.  A platform that
rises from below
the stage

9.  A walkway that
cuts through the
audience seating
area to connect
the stage with the
back of the
theater

11.  The actor holds a
picturesque POSE
to establish his
character.

12.  Are separated into
two main
categories” ONNA-
GATA refers to
female roles.
ARAGOTO refer to
male roles.

13.  Actors apply their
own makeup by
painting their faces
and neck white then
adding stylized lines
in RED, BLACK OR
BLUE
 The colors that are
used tells what kind
of character is being
performed.

14. MEANING OF THE COLORS:
RED – passion, heroism, righteousness
and other POSITIVE traits
PINK – youthful joy
LIGHT BLUE – even temper
PALE GREEN – peacefulness
BLUE or BLACK – villainy, jealousy and
other NEGATIVE traits
GREEN – supernatural
PURPLE - nobility

15. A REVIEW

16.  Combines music,
vocal
performance,
pantomime, dance
and acrobatics.
 Regarded as one of
the cultural
treasures of China

18.  XIAOSHENG are
actors who are
often involved
with beautiful
women

19.  WUSHENG is a
martial character
for roles involving
combat.

20.  LAOSHENG is a
dignified older
role.

21.  LAODAN an old
woman
 WUDAN a martial
woman
 DAOMADAN are
young female
warriors
 QINGYI are virtuous
and elite women
 HUADAN are
vivacious and
unmarried women

22.  is a painted face
male role who
plays either the
primary or
secondary roles.
This type of role
entails a forceful
character.

23.  Is a male clown
role. The Chou
usually plays
secondary roles
whose name also
means “ugly”

25. SONG
SPEECH
DANCE-ACTING
COMBAT

27. RED – devotion, courage, bravery, uprightness and
loyalty
BLACK – roughness and fierceness
YELLOW – fierceness, ambition, and cool-
headedness
PURPLE – uprightness, sophistication, and cool-
headedness
REDDISH PURPLE – just and noble character
BLUE – loyalty, fierceness and sharpness
WHITE – dangerousness, suspiciousness, craftiness
GREEN – impulsive, violent, stubborness
XIAOHUALIAN – a small patch of chalk on and around
the nose, mean and secretive character.

29.  Square platforms,
the action on
stage is usually
visible from at
least three sides.

30.  Enable the
audience to
distinguish a
character’s sex
and status at first
glance.

31.  Utilizes very few
props. A whip is
used to indicate a
horse, and an oar
symbolizes a boat

32.  Are visible to the
audience on the
front part of the
stage.

33.  Always seated
south of the stage.

34.  Immediately move
to the center
north upon
entering the stage.
All characters
enter from the
east and exit from
the west.

35. Of Indonesia

36.  Refers to kinds of puppet theaters
 WAYANG KULIT or shadow puppets are 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 hon
handles and control rods.

37.  The puppeteer, dhalang/ dalang
 A hammer used by the dhalang to knock oon the
puppet box, cempala
 Metal plates that the dhalang hits with his foot,
kepyak
 Traditional indonesian orchestra, gamelan
 Shadow puppets, wayang kulit
 Light source, blencong
 Female singers and a male chorus, pesindhen and
penggerong
 Screen frame and screen, gawang and kelir
 Banana logs, the pointed sticks of the wayang base
handle pierce the peeled trunk of a banana tree and
hold the puppets in place
 A puppet box, kothak