3. Chinese theater traditionally was considered as the
highest form of arts in China.
Peking opera theater, according to the Oxford
dictionary, is a stylized Chinese form of opera from
the late 18th century, in which speech, singing, mime,
and acrobatics are performed to an instrumental
accompaniment.
It became fully developed and recognized by the mid-
19th century.
The form was extremely popular in the Qing Dynasty
court and has come to be regarded as one of the
cultural treasures of China.
4. Two main styles of music:
1. Erh-huang
2. His-p’l
These styles are very similar and the only
difference is the key. His-p’l has lower sound
than Erh-huang.
They also utilize the technique called fan-pan
which is commonly used for sorrowful songs,
and is only sung by bearded characters.
5. It comprises about 8 musicians sitting on stools in
the far corner of the stage.
Each performance in the Peking opera begins with
the ta-lo and siag-lo, a small and large gong and
cymbals.
6.
7.
8.
9.
10.
11.
12.
13.
14.
15. The highest aim of performers is to put beauty into
every motion. Much attention is paid to tradition in the
art form, and gestures, settings, music, and character
types are determined by long-held convention. This
included conventions of movement, which are used to
signal particular actions to the audience.
19. Kabuki is one of the traditions that is very
popular until today.
It is a traditional form of theater which began
in the end of the 16th century.
It became the most successful theater
entertainment in the red light districts of the
great cities.
It is considered as the most important
Japanese contribution to the world theater.
20. Both Noh and Kabuki are unique and
genuine expressions of the Japanese
spirit and culture.
They mirror, however, taste and ideals of
different social classes, in profoundly
different environments and periods.
Pentatonic Scale is mostly used in the
performance of Noh and Kabuki.
21.
22. Is a continuous pattern used in
speeches building up to an explosive
climax in the aragoto (oversize,
supernatural, rough hero) style.
It requires an extraordinary breath
control that only few experts succeed in
achieving.
23. Technique adapted from the chanting
or joruri.
It implies a very sensitive capacity of
riding the rhythms of the shamisen
(string instruments), declaiming each
accompaniment.
24. This technique describes the
subtle delivery of poetical text
written in the Japanese metrical
form of alternating seven and five
syllables.
25.
26. Dances and movements are
accompanied by shamisen music
which collected and popularized a
number of aspects from all
previous forms of Japanese music.
27. 1. GAGAKU – classic court music
imported from China during the 18th
century.
2. KAGURA – performed in Shinto
shrines.
3. NÕ – chant derives from shomyo, the
sophisticated and rich tradition of
Buddhist chanting.
28. 4. NAGAUTA (long song) – reached a golden
age in the first half of the 19th century as dance
music for the henge mono or quick change
pieces.
Nagauta music is very flexible, can be
performed by one shamisen or by an entire
orchestra of 20 musicians (10 are shamisen
players, others play flutes and drums.)
29.
30. Wayang Kulit in Central Java is one of the
oldest continuous traditions of story telling
in the world which includes the use of
puppet materials and background musical
accompaniment to make it interesting to the
audience.
Shadow Puppet is a well-known Indonesian
theater popular not only in their own country
but spread in several countries around the
world.
31. WAYANG is an Indonesian and Malay
word for “theater”. When the term is used
to refer to kinds of Puppet Theater,
sometimes, the “puppet” itself is referred
to as Wayang.
KULIT means “skin” and refers to the
leather construction of the puppets.
Wayang Kulit puppets are made from
Water Buffalo leathers.
32. The stories are usually drawn from the
Hindu epics:
1. Ramayana
2. Mahabharata
3. Serat Menak – the story about heroism
of Amir Hamza
Wayang Kulit was performed in royal
court and widely performed in public on
religious occasions.
33. The Performance:
The audience is the most important person
in a Wayang Kulit performance.
The Dalang prepares all the materials used
like the cloth and the light for the shadow.
The puppet on the right side signifies the
good character, on the left hand side is the
bad. The open space between them about
2 meters wide represents the stage.
34.
35. The DALANG:
The puppeteer is called the dalang. He is
characterized by his being creative,
humorous, and flexible.
He manipulates the puppets, sings, and taps
out signals to the orchestra.
He also speaks the parts of all the characters.
The use of voice interchangeably is the main
ability of a dalang to give more life to a
different character.
36. The DALANG:
The dalang sings the mood songs (Suluk) at
regular intervals during performance. In a
9-hour wayang kulit, he may sing 50 or 60.
Suluk are never accompanied by the full
Gamelan ensemble. Often a single
instrument accompanies the singer, never
more than 3 or 4.
The major dramatic function of Gamelan
music is to accompany stage action.
37.
38. A Gamelan ensemble is
comprised mainly by bronze
percussion instruments
augmented by other percussion
instruments, strings, and a flute.
A full Javanese Gamelan
ensemble consists of the
following:
49. Theater arts are one of the ancient
traditions of people in Asia particularly in
Japan, Indonesia, and China. This
theater art form was transmitted from
generation to generation. The message
in every presentation conveys reflection
of everyday life. The key principle of
theater is selectivity. Through the
various forms of theater art, specific
form can achieve clarity, order, and
beauty rarely found in ordinary life.
