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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.
They are constructed similarly to wayang kulit figures, but from thin pieces of wood instead of leather, and, like wayang kulit figures, are used as shadow puppets. A further similarity is that they are the same smaller size as wayang kulit figures. However, wood is more subject to breakage than leather.
The wayang kulit performance by the Indonesian notable dalang (puppet master) Manteb Soedharsono, with the story "Gathutkaca Winisuda", in Bentara Budaya Jakarta, to commemorate the anniversary of the Kompas daily. The dhalang or dalang (Javanese: ꦝꦭꦁ, romanized: dhalang; [1] Indonesian: dalang) is the puppeteer in an Indonesian wayang ...
Wayang kulit, a style of wayang shadow play, is particularly popular in Java and Bali. The term derived from the word wayang literally means "shadow" or "imagination" in Javanese; it also connotes "spirit". The word kulit means "skin", as the material from which the puppet is made is thin perforated leather sheets made from buffalo skin.
Wayang style is a style of puppetry influenced by the Indonesian wayang kulit, in which human figures and those that are supernatural are depicted as flat and very two-dimensional - hence the name wayang, meaning "shadow" [1]). This style was commonly used in East Java during the Majapahit Empire, which lasted from about 1293 AD to around 1500 AD.
Indonesian Javanese wayang kulit shadow puppet. Wayang refer to a theatrical performance with puppets or human dancers. When the term is used to refer to kinds of puppet theatre, sometimes the puppet itself is referred to as wayang. Performances of shadow puppet theatre is known as wayang kulit, are accompanied by a gamelan orchestra in Java ...
Wayang wang was a performance in the style of wayang kulit (the shadow theatre of Central Java) wherein actors and actresses took the puppets' roles. The first written reference to the form is on the stone inscription Wimalarama from East Java dated 930 CE.
Dora and Sembodo distrusted each other, and suspected that the other tried to steal the pusoko. They fought to death. Aji Saka became curious why it was taking so long, came home himself only to discover the bodies of his two faithful servants and the terrible misunderstanding between them.