Īccording to Martin Banham, there is little mention of indigenous theatrical activity in the Middle East between the 3rd century CE and the 13th century, including the centuries that followed the Islamic conquest of the region. The most significant historical centers of shadow play theatre have been China, Southeast Asia and the Indian subcontinent. The evidence of shadow puppet theatre is found in both old Chinese and Indian texts. The puppets are held close to the screen and lit from behind, while hands and arms are manipulated with attached canes and lower legs swinging freely from the knee. These are performed behind a thin screen with flat, jointed puppets made of colorfully painted transparent leather. By at least around 200 BCE, the figures on cloth seem to have been replaced with puppetry in Indian tholu bommalata shows. ![]() Shadow puppet theatre likely originated in Central Asia-China or in India in the 1st millennium BCE. As the shows were mostly performed at night the par was illuminated with an oil lamp or candles. Shadow play probably developed from "par" shows with narrative scenes painted on a large cloth and the story further related through song. It is also known in Egypt, Turkey, Syria, Greece, Germany, France, and the United States. It has been an ancient art and a living folk tradition in China, India, Iran and Nepal. Shadow play is an old tradition and it has a long history in Southeast Asia, especially in Indonesia, Malaysia, Thailand, and Cambodia. More than 20 countries are known to have shadow show troupes. Shadow play is popular in various cultures, among both children and adults in many countries around the world. There are four different types of performances in shadow play: the actors using their bodies as shadows, puppets where the actors hold them as shadows in the daytime, spatial viewing, and viewing the shadows from both sides of the screen. A talented puppeteer can make the figures appear to walk, dance, fight, nod and laugh. Various effects can be achieved by moving both the puppets and the light source. The cut-out shapes of the puppets sometimes include translucent color or other types of detailing. Shadow play, also known as shadow puppetry, is an ancient form of storytelling and entertainment which uses flat articulated cut-out figures (shadow puppets) which are held between a source of light and a translucent screen or scrim. A performance of wayang, an Indonesian shadow puppet form For other uses, see Shadow puppets (disambiguation). ![]() Following in the footsteps of other eminent reflexive ethnographies, Women in the Shadows will be of value to anyone interested in performance studies, Southeast Asian culture, or ethnographic methods."Shadow puppets" redirects here. Ultimately, Goodlander offers a richer, more complicated understanding of both tradition and gender in Balinese society. She examines the very idea of "tradition" and how it forms both an ideological and social foundation in Balinese culture. She argues that rather than assuming that women performers are necessarily mounting a challenge to tradition, "tradition" in Bali must be understood as a system of power that is inextricably linked to gender hierarchy. ![]() In Women in the Shadows, Jennifer Goodlander draws on her own experience training as a dalang as well as interviews with early women dalang and leading artists to upend the usual assessments of such gender role shifts. Recently, women have begun to study and perform in this traditionally male role, an innovation that has triggered resistance and controversy. The dalang, or puppeteer, is revered in Balinese society as a teacher and spiritual leader. Wayang kulit, or shadow puppetry, connects a mythic past to the present through public ritual performance and is one of most important performance traditions in Bali.
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