Shadow Play Research Articles

“Dangerous modernity!”, or the shadow play of modernity and its characters: instrumental rationality - money - technology (Part 2)

The article is the second part of the essay on the phenomenon of alienation and its forms in modern societies (the first part was published in 2021, No. 4). In this part, the author focuses on technology as fetishized by the modern thinking and on various manifestations of alienation in labor, which are not only (and not so much) a consequence of private ownership of the means of production (according to Marx), but also a by-product of objective tendencies of social differentiation as aggravated in the course of historical development (division of labor) and the subordination of most spheres of the modern social experience to the logic of instrumental rationality. Excessive specialization, standardization, algorithmization, routinization of activities, technological and functional operationalization of the work process and professional roles, the dominance of means over goals, administrative and bureaucratic regulation and control have become signs of the time and distinctive features of the rhythm of activity not only in industrial enterprises, but also in non-physical labor. An important aspect (and a background circumstance) in the diagnosis of modernity is the fact that in recent centuries, modern societies have developed mainly in the urban social-ecological environment. The format and style of urban life with its role-based fragmentation and specific depersonification (and an increase in anonymity) also provoked a range of consequences that make alienation a challenge for modern societies. The author uses the concepts of classical sociological theory as a key tool for analyzing and describing the universe of modernity, and refers to the ideas of M. Weber, G. Simmel, L. Wirth, H.M. McLuhan, H. Marcuse, G. Friedmann, С. Lefort and others.

Potensi Narasi Visual Video Pertunjukan Wayang Dewa Ruci sebagai Media Pembelajaran Bahasa Jawa

The wayang story is one of the chapters or main material in Javanese language subjects which is considered difficult for high school students to learn. So that the results of student achievement at SMA N 2 Wonogiri on the material for wayang stories are the lowest among other materials in Javanese language subjects. The Javanese language teacher's effort to overcome this problem is to show a video of a shadow puppet show with Dewa Ruci's story to the students. The video has visual narrative elements that can convey information on wayang stories sequentially and effectively to students. The purpose of this study was to determine the potential of a video of a shadow puppet show that can be used as learning media for students to recognize and understand the Javanese language subjects. This research method uses a mixed-method (quantitative-qualitative). The results showed that learning material for wayang stories in Javanese language subjects through a video of a shadow puppet show with Dewa Ruci stories for high school students proved to be more effective to understand because it contained visual narrative elements. High school students can find out the characters, setting, plot, themes, and moral values and can rewrite Dewa Ruci's story into Javanese. As a result, through the storytelling of the dalang and the dialogue between the characters in the performances, the dalang becomes known and understood by students.

Fungsi Seni Pertunjukan Wayang Kulit Bali Lakon Bhima Swarga dalam Upacara Yadnya

Balinese performing arts, especially Balinese shadow puppet performances, are closely related to the implementation of the Yadnya ceremony. Not only in terms of the form of the performance, but also in the context of the functions presented by the Balinese shadow puppet performance. The story used is a part that is always integrated with the context and type of Yadnya. Mahabharata is one of the play guidelines used, but The Dalang (Puppet Master) often improvises the story to suit the needs of the show. One of the improvised stories from the Mahabharata is the story of Bhima Swarga. The story of Bhima Swarga is closely related to the purification of ancestral spirits and Pitra Yadnya. However, the public does not know much about the function of the Balinese shadow puppet performing art Bhima Swarga's story, therefore it is interesting to study to know the functions contained in the Balinese shadow puppet performance art of Bhima Swarga's story. The method used is qualitative descriptive. This research was conducted centrally in Sukawati Village, Sukawati District, Gianyar Regency. The results showed that the Balinese shadow puppet performance art Bhima Swarga's story has a function as 1) complementary ritual is seen from the use of sacred puppets, ritual ceremonies, and making tirtha. 2) the function of religious education, improving sraddha through dialogue, and storytelling. 3) creativity in art 4) entertainment, and 5) economic function

Bentuk Pertunjukan Wayang Kulit Bali Lakon Bhima Swarga dalam Upacara Pitra Yadnya

The Balinese shadow puppet show has a connection between the story that is told and the context of the yadnya ceremony. Mahabharata is an epic that is always the source of stories in Balinese shadow puppet shows, the storylines are often improvised by the puppeteers in the performances. Kawi dalang makes the story used more connected to the context of the implementation of the yadnya ceremony. One of the carangan stories that are often performed is the story of Bhima Swarga at the Pitra Yadnya ceremony. However, in the performance, the audience did not see this meaningful and unique performance. Therefore, it is necessary to conduct a study to find out the form of the performance, so that the reader knows the aspects of the form in the Balinese shadow puppet show Bhima Swarga story. The method used in this research is descriptive qualitative. The results of this study are in the form of a description and analysis of the synopsis, the structure of the performance, the form of the puppet characterizations, the language and vocals used, the musical accompaniment, the offerings used, and the stage set in the Balinese shadow puppet show Bhima Swarga story. all aspects of the form are integrated into a show that elevates Bhima as the central character and the story that is told can be used as an example in life to serve the ancestors.

Dharma Pawayangan: Transliteration, Translation, And Cultural Values Analysis

As time changes, the Balinese wayang (shadow puppet show) performances has undergone changes marked by the emergence of new plays. This study examines the lontar (traditional scripture) of Dharma Pawayangan through a manuscript study since the Dharma Pawayangan Lontar contains information and instructions on traditional puppetry art which can be used as the basis for aesthetic understanding of Balinese puppeteers today. To avoid being crushed by the secularization of new wayang creation, thus resulting in the retainment of its religio-magic nature. This study aims to determine the transliteration and translation of Dharma Pawayangan B text, and its cultural values. Another goal is to produce puppetry literary texts that are a source of inspiration for Balinese puppet masters. The result of this research is the Dharma Pawayangan B, transliterated into Latin characters and translated into Indonesian. This manuscript contains information on puppets, puppetry, and the aspects that must be understood by the dalang, namely kiwa tengen, ethics, taboos, equipment, theology, rituals, and punishment for violation of the rules, as well as the development of wayang in the modern era.

Serhiy Eisensteinʹs Filmmaking in the Context of Japanese Visual and Performative Practices.

The article examines creative techniques of the outstanding film director Serhiy Eisenstein in the context of Japanese visual and performative practices. In particular, a range of sources that formed Eisenstein’s idea of the Japanese artistic experience is identified. They include works of Japanese art, hieroglyphics, scientific literature, kabuki theatrical performances and communication with the bearers of Japanese theatrical tradition. A variety of borrowings of creative techniques of Japanese artists and their creative interpretation is revealed on the basis of a comparative analysis of Japanese visual and performative practices with the materials of theoretical and creative heritage of the artist and memoirs. Pre-drawn compositions of frames (so called “sketches”) reveal the techniques of Japanese engraving, samples of which were stored in the directorʹs own collection: close up compositions, sharp camera angles and perspective cuts, expressive silhouettes, shadow play, forming a second meaningful plan. Close ups in the film Ivan the Terrible contain many parallels with such techniques of Kabuki Theater as grotesque facial expressions, mimic facial wrinkles, apples of the eyes extremely slanted to the side, or brought to the bridge of the nose. The models of expression of various emotional states honed in the theatrical practice of Japan corresponded to Eisenstein’s idea of cinema “types”. The principles of using sound as one of the means of expression in the performance of kabuki prompted the director to develop the concept of editing as the main means of developing an audiovisual work. It is established that Eisensteinʹs research of various branches of Japanese art, his experience in the study of hieroglyphic writing directed the masterʹs creative experiments in search of metaphorical language, the principles of developing a clear, easy to read visual component.

In the Beginning There Were Dragon(cillo)s: Using Shadow Puppetry to Engage Young Audiences

Dragoncillo Puppet Troupe was established in 2018 by Esther Fernández, Jonathan Wade, Jared White, and Jason Yancey. A staging of The Fabulous Johnny Frog at the 2018 Association for Hispanic and  Classical  Theater’s  (AHCT)  yearly  symposium  marked  their  beginning  as  a  troupe.  This  work,  adapted by Yancey, focuses on the controversial Juan Rana character and was designed as an outreach initiative to bring early modern Spanish theater to schools using shadow puppetry. In 2019, Dragoncillo created a new performance for the Siglo de Oro Drama Festival and their community partners based on two entremeses written by Francisco de Quevedo. This essay details the formation of Dragoncillo Puppet Troupe and its early efforts to introduce early modern Hispanic literature and culture to various audiences across the United States. Furthermore, the essay reflects the process by which shows are conceived and staged and how those performances evolve over time. Finally, it imagines an expanded repertoire for the troupe that extends beyond the longstanding tradition of puppet theater in Spain to include other texts and contexts from Iberia and Latin America. 

ВЗАИМОДЕЙСТВИЕ СВЕТА И ТЕНИ КАК ПРОЕКЦИИ В ПРОЦЕССЕ СОЗДАНИЯ ТЕНЕВОГО СПЕКТАКЛЯ, ФОТОГРАФИИ И ФИЛЬМА

For many centuries, the name of one of the types of theater that exists in different forms has been recorded under the name "shadow theater". By this name, we mean many different principles of interaction between light and an object that create shadows. Since projection involves the use of light to achieve "light scenes" as well as the use of light as a tool for creating shadows, it is fair to call such a theater "theater of light and shadows." If we use the name “puppet theater”, since the puppet is the main performer in the performance, then in this case both light and shadows equally participate in their performing roles in the “light and shadow theater”. Light without shadow would not be light, and conversely, a shadow without light would not be a shadow. Their uses have evolved over time. Technological progress has also opened up great opportunities for the play of light and shadow. But the principle and essence of the function of the relationship between light and shadow did not change. Light, just like shadow, played a certain role on the screen within the framework of the plot presented in the play. Unfortunately, in theater studies there is still no professional theatrical terminology that allows you to communicate easily and understandably to all participants in the creation of such a performance. Right, professional terminology for working in the shadow theater technique is currently absent. The establishment of such a terminological system would help, first of all, to more easily define and distinguish between the varieties of shadows and light used, and also to raise this type of theater to a higher professional level.

On the Methodological Enlightenment of Classical Criticism to Chinese Film Creation and Criticism

The paper will study and reinterpret, from a modern perspective, The Imperfection of the Cinematic Mode of Xie Jin authored by Zhu Dake. It aims to dig into its way of writing and criticism as well as its enlightenment to modern film criticism.Discussions about the cinematic mode of Xie Jin will be sorted out in the paper. Besides, reinterpretations of the cinematic mode of Xie Jin from a modern perspective will be conducted, in an attempt to throw enlightenment to future film creation in China.This paper holds that Zhu Dake's criticism of Xie Jin model is related to the background of the times at that time, the theme of the meeting where the viewpoint originated and the overall value orientation of young intellectuals at that time.Zhu Dake's article has very avant-garde and advanced critical thinking and research methods. His writing method of Sinicizing western theory is worth learning from current literary criticism.He made a more precise, original and capable summary of Xie Jin's films, but the starting point of his judgment and his own ideas were a bit extreme. Carrying out the modernization cultural reform does not mean the wanton denial of the fine traditions of the country, nor does it mean to deny the "shadow play" tradition from a completely critical angle.The scale of the discussion on Xie Jin film model is very large, and the views of all parties are wonderful and unique. For the present, the result is not so important. Paying attention to the current enlightenment of Xie Jin's film is the key and focus at present.Balancing artistry and commerciality, artistry and politics, practicing the production concept of "beauty of ordinary people", fully respecting the audience, carrying out "production within the system", and creating with the aesthetic production concept of film industry are the creative enlightenment given by Xie Jin model to current filmmakers, and also the overall creative characteristics of new force directors.

Asymmetric Two-Stage CycleGAN for Generation of Faces With Shadow Puppet Style

In this paper, we study the problem of cross-domain image-to-image transformation from real faces to faces with shadow puppet style. Our aim is to make target images retain the salient features of real faces and capture the artistic style of shadow puppet faces. This task involves dual changes of contents and geometric structures to the source image, and the target distribution is a transitional distribution, that cannot be solved by existing solutions. We propose a new CycleGAN-based scheme that extends the transformation of two image domains to that of three domains. We adopt a two-stage generation strategy in the forward transformation and urge the generator of the first stage to learn the target distribution. To this end, we set up a discriminator for the generator to guide its generation. We also present a multiple contrastive training strategy to address the problem of difficulty in training the discriminator, because there is no way to obtain real samples from the target domain. The experimental results show that our scheme is effective and that the target generator can produce intermediate images that meet the requirements.

Inheritance and innovation of Chinese shadow puppetry art in digital media art teaching in colleges and universities

Chinese shadow puppetry art is one of the creams of China's traditional culture. But with the rapid development of modern society and the rapid development of new media art, people are accustomed to the fast, rich, and diversified forms of entertainment. The attraction of traditional shadow puppets has gradually declined, and the development of shadow puppet art is facing some difficulties. Under the influence of digital media technology, shadow play can innovate in communication forms, performance modes, and other aspects, and use innovative ways that meet the needs of contemporary society for effective protection, to radiate new vitality. Taking H5 interactive design as an example, this paper expounds on the inheritance and innovation of shadow play art in digital media art teaching.

Spaces and technologies of the circus spectacle

Contemporary circus is a complex, interdisciplinary form of performing arts. The new circus was built on the basis of the traditional one, but it is more complex than it and brings a combination of elements of acrobatics, dance and drama theater, shadow theater, puppet theater, as well as contemporary visual arts and digital technologies. The circus spectacle, its architectural concept and its content, have changed over the centuries, following social events and the cultural framework of the time. Although the spectacle is still adapting and changing, we ask the question, whether stationary circuses have managed to adapt and transform for the needs of modern society. In this paper, through a brief history of the circus spectacle and important typological characteristics of the objects, one of the most significant objects of this spectacle will be analysed.

The Analysis of the Color Composition and Function of Chinese Shadow Puppetry Art

Shadow puppetry art is a traditional folk art in China. Its simple color and exaggerated character modeling is its key characteristic. This article originally analyzed the color aesthetics of shadow puppetry art from the perspective of its color source, color composition, and color function.

Production of Aesthetic Tastes and Creativity Education of Indonesian Glass Painting Artists

This study aims to find the repertoire of aesthetic taste as a creative act and its relation to symbolic power in the arena of Indonesian cultural production of glass painting. The study used a qualitative approach with a phenomenological design. Data collection used in-depth interviews, participant observation, individual life’s history, and document examination. Data analysis used interpretive phenomenological analysis. The study finds five aesthetic taste repertoires that include: (1) the aesthetic taste of the palace which is characterized by the symbolic decorative visualization of calligraphy pictographs of petarekatan with wadasan and mega mendung ornaments; (2) the taste of strengthening cultural identity is marked by the symbolic decorative visualization of a traditional sourcebook for puppet shadow objects with wadasan and mega mendung ornaments; (3) the taste of traditional renewal is characterized by liberating expressive decorative visualizations; (4) the taste of cultural revitalization is characterized by decorative visualization of the superiority of tradition which is involute; and (5) the taste of marginalized community is characterized by the simplicity of traditional object visualizations. The five aesthetic tastes carry a decorative expression style with an interpretation of tradition based on the cultural capital of the artists. The production of aesthetic taste cannot fully be used to classify the social class structure of appreciators but is related to the identity of the cultural capital they have. The production of aesthetic taste is a creative education model that responds to the doxa of symbolic power in the form of orthodox or heterodox, resulting in defensive, subversive, defensive-subversive synthesis, and pseudo-subversive strategies, which are fought for legitimacy as symbolic power.

Ο Καραγκιόζης πάει αντάρτης: ένα ανέκδοτο έργο της Έλλης Αλεξίου από το αρχείο του ΚΚΕ

This short Karagkiozis play, by the writer and Resistance fighter Elli Alexiou, was discovered in the archives of the Greek Communist Party. Karagkiozis, the Greek popular shadow theatre, was used during the Resistance (1941–1944) to promote the struggle against the German occupiers. Here, the main hero, who, for some researchers, symbolizes the low-class Greek citizen, abandons his eternal hunger to join the Resistance movement. But he never abandons his playfulness and jokes, even during the darkest times of the Greek history.

A Study on the Modern Fashion Design Using the Characteristics of Chinese Traditional Shadow Play

Chinese shadow puppetry constitutes the intangible heritage of the Chinese traditional culture. In its long history, its costumes reflect the unique cultural characteristics of each era. Moreover , the unique expression of shadow puppet art applies various elements and characteristics in designing personalized and artistic costumes, which not only display the regional culture of Chinese national art but also puts forward new design concepts. Therefore, this study obtained inspiration from multiple aspects of Chinese traditional shadow puppets, including artistic images; characteristics of figures in shadow puppets and their joint actions; collocation of traditional colors; combination of light and shadow; and created works. Specifically, such an inspiration included methods of creation, forms, materials, colors, and patterns. Afterward, the results were applied to the design and development of modern fashion. First, it connected various shadow puppet workmodes , which have been separated from creation methods. Five Chinese traditional colors were selected as basic and major colors, whereas leather, which is the basic material for shadow puppets, was used as the basis for using multiple materials, such as transparent fabric and PVC . Moreover, patterns were created through the inspiration obtained from figures in the shadow puppets. In other words, the fashion design considered various elements and characteristics of shadow puppets. Four sets of works with unique artistic characteristics was produced. This thesis highlights shadow puppets, which is a Chinese traditional culture, as the basis of design and analyzes the segmented bodies, costumes, and ornaments of figures in shadow puppets and produced modern form features. On this basis, the study designed shadow puppet works that reflect contemporaneity and originality. Therefore, this research integrated the forms of the traditional esthetic sense of Chinese traditional shadow puppetry with modern fashion design and puts forward new design possibilities. In addition, the study hopes that the Chinese traditional culture will inspire fashion design and will continue to explore new designs that combine traditional and modern beauty.

STATEGI KOMUNIKASI DALAM MEPERTAHANKAN EKSISTENSI WAYANG KULIT PADA BERSIH DESA (Studi pada Ritual Bersih Desa di Desa Siraman Kecamatan Kesamben Kabupaten Blitar)

Bersih Desa is a hereditary tradition in Javanese culture. Bersih Desa is a form of the union of humans with nature and a form of gratitude to the Creator, namely God Almighty. Clean Village can be defined as a form of gratitude for both the harvest, health, and prosperity. So in the Bersih Desa event, a shadow puppet cultural art performance is always held. The existence of shadow puppets in Java until now shows that they are still popular in the midst of the audience. The ability of wayang kulit to survive from generation to generation is something that proves that wayang kulit is an art that not only contains Javanese cultural values ​​but is a personal need for wayang kulit fans because wayang kulit shows have messages and advice conveyed to the audience. The ability of wayang kulit that persists in the midst of modernization and globalization, socioculturally this wayang kulit adapts to developments in society. Psychologically, wayang kulit is still firmly attached to the minds of its fans. The shadow puppet show in Bersih Desa event must still exist in the community so it is very important to have a communication strategy in maintaining its existence, one of which is in Bersih Desa event to preserve the local cultural heritage of the ancestors.
 This study uses a descriptive qualitative method regarding communication strategies in maintaining the existence of wayang kulit at Bersih desa, with the support of literature studies and observations or observations of wayang kulit performances. Data was collected using interviews, literature and documentation. By using a descriptive method, the results of the communication strategy in maintaining the existence of wayang kulit at Bersih desa can be described in depth, detail and holistically.
 The communication strategy in maintaining the existence of wayang kulit at Bersih Desa is carried out by planning communication (communication planning) and communication management (communicatiom management) to achieve a goal. Communication strategy planning is carried out by covering: a.) Identify the target audience,b.) Build what you want to achieve c.) Think about what should be included in the message d.) How much commitment is required, smutual respect for intergenerational culture so as to create a good correlation. e.) Choose the right media channel, f.) Communication plan, to provide information to g.) Measure the success achieved, h.) The communication program that has been implemented needs to be evaluated to find out the extent of the success achieved, Communication management oncommunication strategy in maintaining the existence of wayang kulit at Bersih Desa carried out with activities including: implementation activities, organizing, directing, controlling, influencing the level of success, recipients, successful communication strategies or not, it is necessary to review the implementation of communication activities, effective & efficient on communication strategies, supporting factors for wayang kulit.

Production of Shadow Puppet Performances in Building Artistic Entrepreneurship

Abstract: Purpose: This research describes the efforts to promote entrepreneurial motivation through shadow puppet performances. Research Methodology: This research used a project-based approach, and the activities are initiated by: 1) diagnosing the problems of performing arts entrepreneurship, 2) creating art incubation designs, 3) implementing activity plans, and 4) evaluating activities through performances. The participants were students with educational backgrounds in dance, music, and fine arts at Universitas Pendidikan Indonesia, as well as partners in the Indigo Moon Theater, a community-based in London. Results: A production of shadow puppet performance art with a Jungle Book story can foster students’ entrepreneurial motivation, shown through paid performances and business planning sales of show packages, merchandise, and a shadow puppet workshop model for children and families. Limitations: This research cannot assist the participants in managerial work to continue their business. Contributions: This research contributes to developing art entrepreneurship in the performing arts field as part of Indonesia’s creative industry sub-sector. Keywords: 1. entrepreneurial motivation 2. art entrepreneurship 3. performing arts 4. shadow puppet 5. arts education

THOLPAVAKOOTHU:A STUDY ON THE PERFORMING ART OF SHADOW PUPPETRY IN KERALA

Tholpavakoothu is a form of shadow puppetry which is the ancient art form found only in Kerala and it is a ritualistic worship for Goddess Devi. The main theme of tholpavakoothu is based on Kamba Ramayan and puppets which are chiseled out beautifully on the animal skin are used for the puppetry. Unlike other puppetry, it is the black shadow of puppets that forms on the white screen in the presence of oil lamps that portrays the tale of Ramayana. The study is for the deeper understanding of the origin, style, forms, and themes of tholpavakoothu and also to find out the different influences of applied puppetry in tholpvakoothu. This study uses a qualitative approach using interviews with the artists and performances. It has given a deeper understanding of the uniqueness of tholpavakoothu compared to other puppetry forms. This form basically emphasizes the concepts of mythology and how the form has taken a transition to contemporary issues to cater to all types of audiences.

ALUR LAKON WAYANG KULIT SANG RAHWANA DALANG KI CAHYO KUNTADI

This study aims to describe the plot of the wayang kulit play Sang Rahwana the puppeteer Ki Cahyo Kuntadi. The type of this thesis research is descriptive qualitative. The source of the data comes from the video of the shadow puppet play Sang Rahwana the puppeteer Ki Cahyo Kuntadi. The data obtained are in the form of words, phrases, and sentences containing the plot of the wayang kulit story of Sang Rahwana the puppeteer Ki Cahyo Kuntadi. The data in this study were collected using the document technique, with the following stages: listening, transcript, and note-taking techniques. The data is then analyzed using an interactive model with the following stages: data reduction, data presentation, and concluding drawings.The results of the analysis in the text of the wayang kulit play Sang Rahwana the puppeteer Ki Cahyo Kuntadi is that the story in the wayang kulit has its own characteristics compared to other stories and this story has a straight or progressive type of plot.