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Wayang golek performance (3D wooden puppet), Indonesia. Wayang golek are three-dimensional wooden rod puppets that are operated from below by a wooden rod that runs through the body to the head, and by sticks connected to the hands. The construction of the puppets contributes to their versatility, expressiveness and aptitude for imitating human ...
This reference to wayang as shadow plays suggested that wayang performance was already familiar in Airlangga's court and wayang tradition had been established in Java, perhaps even earlier. An inscription from this period also mentions some occupations such as awayang and aringgit. [19] Wayang kulit is a unique form of theatre employing light ...
Similar characters appear in other Indonesian wayang and theatrical traditions, including those of Bali and Sunda, under different names. [ 6 ] [ 7 ] The panakawan characters are generally much-loved by audiences who attend wayang plays in Indonesia and their appearance in the plays is usually greeted with laughter and anticipation.
In wayang performances the dhalang generally provides a "warrior's voice" for Petruk, as opposed to the nasal voice used for his brothers. [1] He is married to Dewi Ambarawati, [4] whom he won the right to marry after defeating four other suitors in a vicious battle. Together they have a son, Lengkungkusuma. [4]
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.
Cepot is humorous and easy going, everything Cepot says tends to be funny, and Cepot's act has many slapstick jokes, mostly done together with its antagonist wayang golek character. Cepot in wayang golek puppetry also has other, good looking faces: Astrajingga, described with its straight, humble, good looking and white face.
Damarwulan is a Javanese legendary hero who appears in a cycle of stories used in the performance of wayang klitik, as well as Langendriyan (female dance-opera) and ketoprak (popular theater). These stories tell of the struggles between the Majapahit and Blambangan kingdoms, in which Damarwulan gains honor.
Semar is a character in Javanese mythology who frequently appears in wayang shadow plays. He is one of the punokawan (clowns) but is divine and very wise. He is the dhanyang (guardian spirit) of Java, [1] and is regarded by some as the most sacred figure of the wayang set. [2] He is said to be the god Sang Hyang Ismaya in human form. [3] [4]