Southeast Asian Theater

There is a variety of theatrical forms in Southeast Asia. This includes Cai Luong, Khon, Lakhon Bassac, Wayang Kulit, Nang, Zat Pwe, and Komedya.

A. Cai Luong (Vietnam) Cai luong, classified as “renovated theater” or “reformed theater,” is a mixture of Asian popular theater, Vietnamese folk
music, and French comedy. This theater form was first performed in the early 1900s.

Two Types of Cai Luong:

1. Cai Luong tuong co (the ancient form) – revolves around historic and legendary stories of Vietnam’s feudal system.

2. Cai Luong xa hoi (modern form) – tells the story of domestic and romantic relationships in modern society.

Both forms feature moral standards in the country. Cai Luong performers combine nostalgic singing and spoken dialogue with music playing in the
background.

B. Khon (Thailand) Khon is a masked, stylized dance drama with roots tracing back to the 16th century. It evolved alongside the national epic story
and the Thai version of Ramayana, the Ramakien. There is no dialogue in Khon; only a chorus tells the story from the side. It is a sophisticated and
graceful art form combining dance drama, formalized movements, colored papier-mâché masks, and elaborate traditional costumes. Originally
performed to entertain the Thai royal family, it was once limited to male performers due to its strenuous nature, but today, female performers also
participate.

C. Nang Shadow Puppets (Thailand) Nang was a form of public entertainment in southern Thailand, still popular at festivals, temple fairs, and
celebrations like marriages. The puppets are delicately colored but only appear in shadow against a white sheet, with light shining through from
behind. They are manipulated with rods controlling their arms and legs and are usually performed during the dry season (February to August).
Performances often have a religious theme or feature episodes from the Ramayana epic, sometimes incorporating local events, songs, and poems.

There are two types of Nang:

1. Nang Talung – uses leather puppets, about 50 cm high, with movable joints controlled by strings.

2. Nang Yai – made of cowhide rattan, showcasing large, decorated scenes and characters about two meters high and a meter wide. They do
not have jointed arms, but the themes and styles remain consistent.

Nai Nang is the teacher and presenter of Nang Talung. Responsible for acting as an intermediary between the community and the gods, Nai Nang is
highly respected. Nang performances relay Thai values and ideologies through stories of love, current events, and tradition, emphasizing Buddhist
morality with messages of karma, rewards, and punishments.

D. Lakhon Bassac (Cambodia) Lakhon Bassac, also known as Bassac Opera, is a popular folk theatrical form in Cambodia. It features larger-than-life,
comic movements depicting early Khmer literature, particularly stories about the clash of good and evil spirits. This animated art form blends
dance, music, and melodrama, with performers wearing extravagant costumes. It nearly vanished during the Khmer Rouge period but has continued
to thrive.

Key characteristics include:

 Costume: Male stars, usually princes, wear intricately patterned costumes and crowns decorated with jewelry. Their weapons include
bows, arrows, or sticks.

 Yeak: Represents an evil spirit, always portrayed as ugly, performing exaggerated movements and singing in a yelling style.

 Music: Each scene starts with drum beats and the melodic sound of a low-pitch fiddle and dulcimer.

 Ta Eiysey and Ta Eiyso: Masters of the prince and the Yeak, wearing similar clothes and living in secluded Asrom houses.

E. Wayang Kulit (Indonesia) Wayang Kulit is one of Indonesia’s most well-known puppet theater arts. “Wayang” refers to puppet theaters, and
“Kulit” means skin, referencing the leather puppets crafted with fine tools and buffalo horn handles and rods. Performances are accompanied by a
Gamelan orchestra in Java or Gender Wayang in Bali. Types of Wayang include:

 Wayang Golek (rod puppets)

 Wayang Klitik (flat wood puppets)

 Wayang Orang (human puppets)

 Wayang Gedog (masked human puppets)

Stories are often drawn from the Hindu epics:

1. Ramayana
 2. Mahabharata

3. Serat Menak – about the heroism of Amir Hamza

A Wayang Kulit performance involves shadows cast on a cotton screen with an oil lamp (blencong), symbolizing the universe. The bright side of the
screen represents the material world, while the dark side symbolizes the afterlife. Key elements include the puppeteer (dhalang or dalang), a
puppet box (kothak), banana logs (degebog), a screen frame (gawang), and female singers with a male chorus.

F. Zat Pwe (Myanmar) Pwe is a broad term for Burmese performances that combine classical dance, drama, and musical opera. Zat Pwe, the most
popular type, blends dance, drama, and music, often performed during pagoda festivals with dancers, acrobats, and comedians accompanied by a
gong and percussion ensemble (hswaing waing). Stories are usually drawn from the Buddhist Jataka or Burmese history. Traditionally, Zat Pwe
performances last the entire night.

G. Komedya (Philippines) Komedya, also called Moro-Moro, is a form of Philippine theater art depicting religious and political conflicts between
Christian and Muslim heroes. The play lasts for three nights, featuring battles between kings, princes, and dukes, with Christians emerging
victorious. Performers parade in magnificent costumes and props, using stylized acting. Komedya is often presented during festivals, engaging the
entire community.

East Asian Theater

A. Peking Opera (China) Peking Opera, also known as Beijing Opera, is a traditional Chinese theater art form combining music, vocal performances,
dance, and acrobatics. It started in the late 18th century and became fully developed and recognized by the mid-19th century. During the Qing
Dynasty court, it gained extreme popularity and came to be regarded as one of the cultural treasures of China.

Roles and Characters:

 Sheng - the main male role in Peking Opera.

 Dan - refers to any female role in Peking Opera.

 Jing - a painted face male role who plays either primary or secondary roles. This role entails a forceful character, requiring a strong voice
and exaggerated gestures.

 Chou - a male clown role. The Chou usually plays secondary roles, with the name also meaning "ugly," reflecting the traditional belief that
the clown's combination of ugliness and laughter could drive away evil spirits.

Peking Opera performers utilize four skills:

 Song

 Speech

 Dance-acting - includes pure dance, pantomime, and all other types of dance

 Combat - involves both acrobatics and fighting with all manner of weaponry

Xiaohualian, or the "pretty painted face," is a small patch of chalk on and around the nose. Clowns of traditional drama wear this special makeup to
show a mean and secretive character.

The highest aim of performers in Peking Opera is to put beauty into every motion. The art form, gestures, settings, music, and character types are
determined by long-held conventions. Certain movements have specific meanings:

 Walking in a large circle symbolizes traveling a long distance

 Straightening costume and headdress indicates an important character is about to speak

 Pantomimic actions like opening and closing doors or mounting and descending stairs add depth to the performance

There are two kinds of makeup applied by performers: masks and facial paintings. A special technique called "changing faces" involves the frequent
onstage change of masks so swiftly that the audience barely notices.

B. Kabuki (Japan) Kabuki is a form of traditional Japanese drama with highly stylized song, mime, and dance, performed only by male actors. It
evolved in Japan in the early 17th century. The term "Kabuki" was originally a verb meaning "act dissolutely," but later took on the meanings of "Ka"
(song), "Bu" (dance), and "Ki" (art/skill).

Kabuki is known for the stylization of its drama and the elaborate makeup worn by performers, called "kumadori." Sometimes referred to as the "art
of singing and dancing," it reflects the expression "Kabukimono," which described those who were bizarrely dressed and paraded on the street.

Kabuki stage features:

 Kogakudo - Kabuki theaters with stages both in front of the audience and along the sides, creating a bond between actors and viewers

 Mawaro butal - a revolving stage

 Suppon - a platform rising from below the stage

 Hanamicho - a walkway cutting through the audience seating area to connect the stage with the back of the theater

 Magicians and supernatural beings often make their entrance from trap doors in the Hanamichi, with some stages having as many as 17
trap doors

Three main categories of Kabuki play:

 Jidai-mono - historical plays set in the pre-Sengoku period

 Sewa-mono - domestic plays focusing on post-Sengoku stories about commoners

 Shosagoto - dance pieces

Important elements of Kabuki:

 Mie - a pose where the actor holds a picturesque stance to establish his character and house name (yago)

 Kakegoe - a loud shout from expert audience members to enhance appreciation

 Kesho - shouting the actor's father’s name as a greater compliment

Kabuki actors fall into two main categories:

 Onna-gata - female roles

 Aragoto - male roles

Kabuki plays follow a five-act structure:

 Jo - an auspicious and slow opening introducing the characters and plot

 Ha - speeds up events, culminating in a dramatic moment

 The third act often features a tragedy

 Battles may occur in the second and/or fourth acts

 Kyu - a short and satisfying conclusion

Other Japanese Theater Forms:

 Noh - Japan’s oldest form of musical theater. The story is told through various forms such as Utai (singing), Hayashi (musical
accompaniment), and Mai (dance). Noh features slow movements, poetic language, monotonous tones, and heavy costumes. Narratives
are based on Japanese legends, history, literature, and contemporary events.

o Main roles in Noh:

 Shite - leading character

 Waki - supporting actor

 Hayashi - musicians

 Juitai - chorus

 Koken - stage attendants

o The leading actor usually wears a lacquered wooden mask depicting characters such as an old man, a young or old woman, a
divine figure, a ghost, or a young boy

 Kyogen - a classical Japanese comic theater performed with highly stylized actions and lines. Traditionally staged between Noh
performances as comic relief but can also be performed on its own. Unlike Noh, Kyogen performers do not typically wear masks. It
appeals more to commoners, whereas Noh is popular among the elite.
  Bunraku - Japanese puppet theater that became popular at the end of the 16th century. Performed with narrative singing and shamisen (a
three-stringed instrument) accompaniment. Recognized as one of the world’s most refined forms of puppet theater.

South, West, and Central Asian Theater Arts

A. Bhand Pather

 Origin: The word "bhand" originated from the Sanskrit "band," meaning "imitation or comical behavior."

 Location: Kashmir, in the Himalayas — perhaps the oldest theatrical form in the Indian subcontinent.

Bhands today refer to the folk performers of India, Pakistan, Nepal, and Bangladesh. This traditional performing group includes actors, storytellers,
impressionists, minstrels, and dancers. Bhand Pather depicts stories of reshis (Islamic sages) in mythological legends. More modern figures (real or
fictional) are also portrayed. Often, the pather (storyline) is satirical and humorous. Overall, façade is a crucial component of Bhand Pather.

B. Saang

 Focus: More on dialogue than gestures and movement.

 Duration: Often lasts up to six hours.

The Saang is a form of folk dance drama performed specifically in Madhya Pradesh, Uttar Pradesh, Haryana, and Rajasthan in India. This folk dance
drama incorporates theatrics and naqal (mimicry), which go with dialogues and songs. It often draws materials from folk tales, Indian mythology,
morality themes, and lives of inspiring figures. It also tackles themes such as literacy and education, health, and hygiene.

A group of 10 to 12 actors performed the Saang in an open-air theater, where the stage is surrounded by the audience. Unlike in modern drama, the
stage of Saang does not have ornate arrangements. There are no curtains and rooms or backstage areas where performers can change costumes or
put on makeup. They perform only on a wooden platform. All they need is skill and stamina.

C. Ache Lhamo

 Type: Buddhist morality play.

 Origin: Attributed to Thang-stong rgyal-po, a 15th-century bridge builder.

Ache Lhamo is a Buddhist morality play that developed in Central Asia. Buddhist canonical literature, historical accounts, folktales, and mythology
are also rich materials for stories of this play. Most presentations of Ache Lhamo are about legendary heroes who show that the virtues of
Buddhism can defeat evil.

Some scholars claim that such a morality play derived from Indian theater. According to Tibetan tradition, however, the first performance of Ache
Lhamo was produced by Thang-stong rgyal-po.

D. Ta’ziyeh

 Meaning: Derived from "aza," meaning "mourning."

 Region: West Asia — Iraq, Iran, Bahrain, and southern Lebanon.

Ta’ziyeh, a religious epic theater, is still staged in many areas in West Asia with huge Shi’a Muslim populations. In reference to Persian culture,
Ta’ziyeh is a form of "condolence theater" that depicts religious and historical events.

In Iranian Shiism, ta’ziyeh is a type of passion play. Many villagers and small towns have built hoseinieh, which are buildings specifically for
mounting rituals. In Iran, ta’ziyeh is performed by both professional groups of actors and amateur villagers. Many participants do not consider it a
form of theater, but as a part of the observance of mourning. Despite this characteristic, ta’ziyeh exhibits a number of theatrical conventions.

SOUTHEAST ASIAN FESTIVALS

A. Sky Lantern Festival (Thailand)

 Held not just in Thailand but also in China, Taiwan, and other neighboring countries.

 Involves launching sky lanterns (small hot air balloons).

 Each lantern release is a petition, small prayer, or good wish.

Other Festivals Celebrated in Thailand:

a. Loy Krathong or Loi Krathong

 "Loy" means "to float," and "krathong" refers to a lotus-shaped receptacle that floats on water.

 Krathongs were traditionally made from banana leaves, banana tree trunks, or spider lily plants.

 Originated in the 13th century when a young queen sent a small boat with candles down the river.

 Honors Phra Mae Kongka, the goddess of water.

 Takes place on the evening of the full moon of the 12th month in the traditional Thai lunar calendar (November).

b. Songkran Festival

 Celebrates the Buddhist New Year.

 Held in April.

 Known for massive water fights in Thailand's major streets.

 Water fights symbolize spring cleaning and showing respect.

 Traditionally, monks rub talc or chalk for blessings.

B. Thaipusam Festival (Malaysia and Singapore)

 Held in January or February.

 Celebrated by Hindu devotees, especially in Malaysia and Singapore.

 Men give thanks for answered prayers by carrying kavadis (steel racks attached to the body).

 Participants believe skin piercing cleanses their souls of sins.

 In Malaysia, the festival centers at Batu Cave (home to the world’s largest statue of Lord Murugan).

 In Singapore, participants walk from Sri Srinivasa Temple to Sri Thendayuthapani Temple.

C. Waisak Festival (Indonesia)

 The most sacred day in Buddhism.

 Celebrates Buddha’s birth, enlightenment, and attainment of nirvana.

 Held in Borobudur, Java, Indonesia — home to the world's largest Buddhist temple.

 Monks process from Mendut to Pawon, and then to Borobudur.

 Pilgrims light candles, offer flowers, and pray as the full moon rises.

D. Balinese Dance Festival (Indonesia)

 An ancient dance tradition reflecting religious and artistic expression among Balinese people.

 In Hinduism, dance accompanies the continuous dissolving and reforming of the world.

 Often personifies Shiva’s wife (Durga, Uma, Parvati, or Kali).

 Features epic performances of Mahabharata and Ramayana.

 Dancers use facial, eye, hand, arm, hip, and foot movements coordinated with percussive sounds.

EAST ASIAN FESTIVALS

A. Chinese Festival
a. Chinese New Year

 The longest and most important festivity in the Chinese calendar.

 Also known as "Spring Festival" (Chunjie).

 Begins on the first day of the month in the traditional Chinese calendar and ends with the Lantern Festival on the 15th day.

b. Dragon Dance

 A traditional Chinese dance performed during Chinese New Year.

 The dragon symbolizes power, strength, and good luck.

 Dancers mimic the dragon’s movements (flowing, rising, and falling).

 Reflects the dragon’s qualities: power, dignity, fertility, wisdom, and prosperity.

B. Kodo Taiko Drum Festival (Japan)

 Taiko is one of Japan’s oldest musical instruments.

 Used in communication, religious rituals, and motivating troops in feudal Japan.

 Found at Shinto shrines and Buddhist temples.

 Kodo Taiko drummers from Sado, Japan, have popularized this art.

 Kodo means "heartbeat" (primal rhythm) and "children of the drum" (playing with a child's heart).

 Includes traditional dance, vocal performance, and regional Japanese rhythms.

C. Andong Mask Dance Festival (Korea)

 Held from late September to early October in Andong, Gyeongsangbukdo, Korea.

 Features talchum (mask dance) and other traditional Korean dances.

 Highlights byeolsingut talnori, an important intangible cultural asset.

 Invites foreign troupes to perform their own mask dances.

 Includes mask dance competitions and lessons.

FESTIVALS IN SOUTH, WEST, AND CENTRAL ASIA

A. Dewali (India)

 Also known as the Festival of Lights.

 Celebrates the triumph of good over evil and light over darkness.

 Honors Lord Rama and Hanuman’s victory over King Ravan and Sita’s rescue.

 "Dewali" means "lighted lamps."

 People light firecrackers, candles, and diyas (lamps).

 Celebrated for five days, with rituals and pujas (prayers).

 Main festival night falls on the new moon of Kartika (October-November).

 Also observed in Pakistan, Nepal, and Sri Lanka.

B. Holi (India)

 Known as the Festival of Colors.

 Celebrates the triumph of good (Prince Prahlad) over evil (Holika).

 Marks the richness of the spring harvest.

 Celebrated with bonfires, singing, and dancing on the eve of Holi.

 People throw wet and dry colors, use water guns, and toss balloons filled with colored water.

 Consuming bhang (cannabis paste) is traditional.

 Northern India hosts the liveliest celebrations.

C. Nowruz (Iran)

 The Iranian New Year.

 Celebrated during the vernal equinox (start of spring).

 Originates from Zoroastrianism.

 Symbolizes happiness, hope, and renewal.

 Lasts for 13 days.

 Includes spring cleaning, elaborate dinners, and seven items starting with "S."

 Celebrated in Iran, Afghanistan, Northern Iraq, Kazakhstan, Turkey, and Pakistan.

D. Passover (Jewish Festival)

 Commemorates the Israelites’ liberation from slavery in Egypt.

 Observed from the 15th to the 22nd of Nissan (Hebrew calendar).

 First two and last two days are full-fledged holidays.

 Includes the Seder (lamb, bitter herbs, and unrisen bread).

 Candles are lit, Kiddush (ceremony of wine and words) is performed, and lavish meals are enjoyed.

 Middle days (Hol harmoed) are semi-festive, allowing some work.

--- Catch your breath for a moment and once this tiresome journey is over, we’ll be something the world has never seen. – Dino --