Kabuki of Japan, Peking Opera of China, Wayang Kulit of Indonesia and Nang Shadow Puppet of Thailand

1. THEATRICAL ARTS
of ASIA
JAPAN (KABUKI,) CHINA (PEKING
OPERA) INDONESIA (WAYANG KULIT)
THAILAND (NANG SHADOW PUPPET)

2. 2

3. Kabuki
 a classical Japanese dance-drama.
◦ known for the stylization of its
drama, the often-glamorous
costumes worn by performers, and
for the elaborate keishi/keisho make-
up worn by some of its performers.
◦ It is highly stylized song, mime and
dance performed only by males.
3

4. Kabuki
◦ Elements of kabuki Mie,
make up, props, costumes.
◦ originated in the very early Edo period, when founder Izumo
no Okuni formed a female dance troupe who performed
dances and light sketches in Kyoto.
◦ later developed into its present all-male theatrical form after
women were banned from performing in kabuki theatre in
1629.
◦ developed throughout the late 17th century and reached its
zenith in the mid-18th century
4

5. 5

6. 6
Peking Opera
◦ Chinese traditional theater art form - the
Peking Opera or Beijing opera
◦ Combination of music, vocal performance,
pantomime, dance and acrobatics
◦ considered as the highest form of art in
China.
◦ The highest aim of performance in Peking
Opera is to put beauty into every motion.

7. 7
Peking opera features
four main role types:
sheng (gentlemen),
dan (women),
jing (rough men), and
chou (clowns).

8. 8
Performing troupes often have several of
each variety, as well as numerous
secondary and tertiary performers. With
their elaborate and colorful costumes,
performers are the only focal points on
Peking opera's characteristically sparse
stage.
They use the skills of speech, song,
dance and combat in movements
that are symbolic and suggestive,
rather than realistic.

9. 9
Above all else, the skill of performers is
evaluated according to the beauty of
their movements.
Performers also adhere to a variety of
stylistic conventions that help audiences
navigate the plot of the production.[5]
The layers of meaning within each
movement must be expressed in time
with music.

10. 10
The music of Peking opera can be divided
into the xīpí (西皮) and èrhuáng (二黄)
styles.
Melodies include arias, fixed-tune melodies
and percussion patterns.[6]
The repertoire of Peking opera includes
over 1,400 works, which are based on
Chinese history, folklore and, increasingly,
contemporary life.

11. 11

12. Wayang Kulit
 Refers to kinds of puppets theaters.
 Sometimes the puppet itself is
referred to as wayang. Performance of
shadow puppet theaters are
accompanied by gamelan orchestra in
Java and by gender wayang in Bali.
Wayang Kulit or shadow puppet.
12

13. Wayang Kulit
13
A traditional form of puppet-
shadow play originally found in
the cultures of Java, Bali, and
Lombok in Indonesia.[1]

14. Wayang Kulit
14
In a wayang kulit performance, the
puppet figures are rear-projected on a
taut linen screen with a coconut-oil (or
electric) light. The dalang (shadow
artist) manipulates carved leather
figures between the lamp and the
screen to bring the shadows to life. The
narratives of wayang kulit often have to
do with the major theme of good vs.
evil

15. 15
Nang Shadow
Puppet
Nang yai is a form of
shadow play found in
Thailand. Puppets are made
of painted buffalo hide, while
the story is narrated by songs,
chants and music.

16. 16
◦ Nang means "leather"
("leather puppet" in this
case), and in common
usage refers to a dance-
drama shadow puppet
show.

17. 17
◦ Nang yai, whose name specifically
means "large shadow puppet",
features life-size puppets, while
nang talung (a similar tradition of
shadow puppetry whose name
derives from Pattalung, a southern
city where the tradition has long
been popular) features much
smaller puppets.

18. 18
◦ Both are particularly popular
in southern Thailand.
According to James
Brandon, most scholars
believe that nangyai came
to Thailand via Java and the
Malay Peninsula from India.

19. 19

20. 20
Learning Task 1: Jumbled Letters
Directions: Arrange the letters to form the words
that were discussed above.
1. IKUBAK
2. ENGSH
3. NEKIPG EROPA
4. ANGN AIY
5. EATERTH
6. TOPANMEMI
7. SHIEIK
8. BATICACORS
9. YANGWA LITKU
10. STEPPUP

21. 21
Learning Task 2: I’M IN!
Directions: Watch and analyze the theatrical form of Peking
Opera, Kabuki, Nang and Wayang Kulit Shadow puppet
theater using the link provided below. Then supply the
appropriate description of each theatrical performance in
Asia in terms of stage design, costume, make up, and
props.
Stage design
Costume Make up
Props

22. 22

23. 23
Kabuki Costume:
1
Costumes are swung from sticks or manipulated by
helpers who come on stage dressed in black
hooded robes 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 curveless figure are regarded the essence of
beauty..

24. 24
2 Kabuki Make - up :
Make-up is also one of the most iconic
parts of Kabuki. Actors apply their own make-up
by painting their faces and necks white, then
adding stylized lines in red, black, or blue. The
colors and lines that are used tell you what kind
of character is being performed.
Red and blue are usually aragoto roles, onna-
gata playing young women have very little paint.

25. 25
These are examples of famous kabuki
characters. A character’s make –up, like
everything else is decided by tradition.

26. 26
Kabuki make-up, provides an
element of style easily
recognizable even by those
unfamiliar with the art form. Rice
powder is used to create the
white oshiroi base for the
characteristic stage make-up,
and kumadori enhances or
exaggerates facial lines to
produce dramatic animal or
supernatural character.
oshiroi
kumadori

27. 27
The color of the kumadori is an
expression of the character's nature:
red lines are used to indicate passion,
heroism, righteousness, and other
positive traits;
pink, for youthful joy;
light blue, for an even temper;
pale green, for peacefulness
blue or black, for villainy, jealousy,
and other negative traits;
green, for the supernatural; and
purple, for nobility

28. 28
3 Kabuki Props :
Kabuki props are often quite interesting.
 Flowing water is usually represented by
fluttering roles of linen; and creatures like
insects and foxes.
 Props often have symbolic meanings.
 Fans are used to symbolize wind, a sword, a
tobacco pipe, waves or food.

29. 29
 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.

30. 30
Kabuki Stage Design :
4
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.

31. 31
Assimilation:
Activity 5: Imitate Me: Malong and Walis Game
Assume a character (Kabuki) by using the
broom stick (props) and the
blanket/malong (costume). Imitate a short
scene/ performance of characters in
Kabuki.

32. 32
Excellent Always demonstrates understanding of appropriate
physical appearance for performing and connecting
with the audience to convey the message.
4
Good Usually demonstrates understanding of appropriate
physical appearance for performing and connecting
with the audience to convey the message.
3
Fair Sometimes demonstrates understanding of appropriate
physical appearance for performing and connecting
with the audience to convey the message.
2
Needs
Improveme
nt
Rarely demonstrates understanding of appropriate
physical appearance for performing and connecting
with the audience to convey the message.
1
Performance Rubrics:

33. 33
Assessment:
Answer the following questions. Write the letter of the correct
answer.
1.The classical Japanese dance drama.
a.Peking Opera b. Kabuki c. Wayang Kulit d. Nang Shadow
Play
2. The most iconic part of a Kabuki play.
a.Props b. make-up c. costumes d. stage design
3. The part which the actor holds a picturesque pose to establish his
character and his house name.
a.Mie b. skene c. orchestra d. theatre

34. 34
4. Kabuki play that is focused on commoners like
townspeople and commoners.
a.Shosagoto b. jidai-mono c. sewa-mono
d. onna gata
5. An auspicious and slow opening which introduces the
audience to the characters and the plot.
a.Ha b. jo c. kyu d. mie

35. 35
Reflection:
Write your insights about the lesson discussed.
I understand that
_______________________________________________.
I realized that
_______________________________________________
I need to learn more about
_____________________________________

36. 36