ec project 1

8/8/2019 ec project 1

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Traditional forms of

theater


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Participating countries


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Project phases:

Phase 1: Personal Profiles with photograph uploaded to Moodle

Phase 2: Collect (oral history) and exchange of information on

Traditional Forms of Theatre using Moodle - including

description, visual material. It is encouraged that theexchange of information included recorded Music

themes which accompany the performances.

Phase 3: Each school will respond in Moodle to the Information

from at least one other school.

Phase 4: Dissemination of the project - this will be done locally

by each school and in the form of a project website bythe coordinating countries


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Vietnamese water pupets

http://www.youtube.com/watch?v=zjU0_VNazok


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SHADOW THEATREAND ITS ORIGINS-THEASIATIC

SOURCES OF SHADOW THEATRE

INDONESIA

The Shadow Theatre is not only one of themost interesting kinds of art but it is one ofthe most attractive subjects of study andresearch as well.

Many famous Greek and foreign scholars

who were investigating about the roots ofshadow theatre found its origins in India: theplays of the most known Shadow TheatresofSOUTHEASTASIA, (Java, Singapore,Thailand, Laos, Malaysia), influenced by theIndian civilization (4th c.) have beentaken from Ramah's legends and the warbetween the two races, Pandava andKorawa based on Ramayana and

Mahabharata epic poems. The shadow characters came from the world

of gods, spirits and ghosts.


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India

Shadow figure of India.

In particular, in India, the oral tradition hasthe Tholu Bomalatta, "the play of the leatherdoll", as a form of shadow theatre, whichused figures made of animal skin in bright

colours in about 200 B.C., if we take intoaccount the references that appear in theMahabharata.

Even today, shadow theatre enjoys greatsuccess in India. We meet it mainly in theregions of Orissa, Kerala, Karnataka and inAndrha Pradesh in four different versions.

In most cases it deals with the old Indian

myths related to the Ramayana andMahabharata epics.


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Indonesia Shadow Theatre in Indonesia, named

Wayang and means shadows deals with themetaphysical world of ancestorsand spirits.

The word today also means figures madefrom worked leather and generally a

dramatic performance in which the actorsare puppets or people.

The first traces of Wayang Kulit in Java goback to the 9th century but with theconversion of Java to Islam in the 16thcentury, the character of this shadow theatrechanged radically. The basic stories inWayang Kulit are of three types, always

based on the Indian epics, but adaptedaccordingly, taking on a more local colourthanks to the rich philosophy characteristicsof the inhabitants of Java.

Shadow figure of Java.


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Malaysia It can be watched from either

side. Men prefer the shadowsand women the coloured figures.One play can make use of up to350 shadow puppets. Thepresenter narrates, sings andcreates the dialogue. On theright of the screen are placed thefigures that represent the goodand on the left are placed thefigures of evil. In the middle there

is a big fan which divides thestage into two, good and evil.This fan is removed when theperformance begins.

Shadow figure from Malaysia.


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China

About the history ofShadow Theatre in CHINA,according to the Chinese encyclopaedias, thatappeared in the 11th c. as a kind of entertainment.

Regarding to its origins, the source of the plays inYing Xi, is based on the legend of a king named Wu,

from Han's Dynasty, (121 B.C.) who was desperatebecause of his wife's death, Wang and hecommanded a magician to bring her spirit back. Themagician, then, created her shape in a dark room byprojecting her shadow on the curtains around his royalbed.The stories, which the puppeteers based theirperformances were part of the oral tradition, were

interpreted by each shadow player according to hisown understanding and were taken from the huge oraland written literary tradition.

Chinese Shadow Theatre.


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China

Shadow theatre delighted not only the ordinarypeople but all social classes, especially children.The figures ofChinese Ying Xi Shadow Theatre

are made of leather. The puppets that havesurvived wear clothes of the period of the MingDynasty (1368-1694 A.D.) and the Quing Dynasty(1644 - 1911 A.D.). A shadow player can usuallyhold and manipulate eight figures, three in eachhand and one on each foot! The dialogue in theseperformances is sung and the movements areexaggerated and grotesque.

Chinese Shadow Theatre.


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Th

e Karagiozis PuppetTh

eatreTraditional entertainment, was once to be found atthe shadow puppet theatre, or Karagiozis. Thepuppets were manipulated by a single puppeteer,

who would stand behind a white sheet, lit up frombehind by a light.

The themes of each play were adapted to currentsocial and political issues, as well as to historicalevents. The main character was always the anti-hero Karagiozis: an unemployed poor man living ina shack near the pashas palace.


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Greece

Karagiozis

Karagiozis is a typical poor Greek man,

who has renounced himself. He has a

cheerful and philosophical approach to

life. Karagiozis is naive, sardonic butkind-hearted. He is lazy and optimistic

but on the other hand he always wants

to take part in everything. He is

interested in everything that takes place

near him.


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www.karagiozismuseum.gr


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Mr Charidimos, a famous

puppeteer


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Haridimos Karaghiozi Shadow

Theater


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Mr Chatzis Lab

If somebody wants to make a figure of Karagiozis from cardboard, he has to

draw the figure first and then use it as a pattern.

If somebody wants to make a figure from plastic he has to draw the outline by

marker and then to rub the plastic with sand paper


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Constructing figures in lab.

One might think making the

figures to be a rather fun

experience. Well it is!!

We constructed our

figures with

h

ard cardboardpaper because it is cheaper and

easier to color and cut.


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The ..results


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Working our performance with

mr Xatzakis (theatre director)


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Getting ready for the Performance


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The performance

ec project 1

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