{"id":5241,"date":"2007-09-08T20:47:00","date_gmt":"2007-09-08T18:47:00","guid":{"rendered":""},"modified":"2020-09-06T19:08:09","modified_gmt":"2020-09-06T17:08:09","slug":"el-titella-orient","status":"publish","type":"post","link":"https:\/\/www.teiamoner.net\/en\/el-titella-orient\/","title":{"rendered":"The puppet in the East"},"content":{"rendered":"
\n
\nPuppets are special. The puppet<\/span><\/div>\n

The puppet in the East
\n<\/span><\/div>\n

\n<\/div>\n
\nEAST<\/b><\/div>\n
\n<\/div>\n
\n
\nUndoubtedly, the ancient East was the realm of the puppets. In countries like
\nIndia, China, Japan, the Indonesian archipelago and Turkey, among others,
\nshadows, thread or stem puppets were incorporated into the culture
\n popular and consolidated traditions that most have
\nsurvived to our day. <\/div>\n
\n<\/div>\n
\n<\/div>\n
\n<\/div>\n
\n<\/div>\n
\n<\/div>\n
\nFig.1<\/div>\n
\n<\/div>\n
\n<\/div>\n
\n<\/div>\n
\n  <\/div>\n
\n<\/div>\n
\n <\/div>\n
\n<\/div>\n
\n<\/div>\n
\nFig.2 <\/div>\n
\n<\/div>\n
\n<\/div>\n
\n<\/div>\n
\n<\/div>\n
\n<\/div>\n

<\/p>\n

\nFig.3<\/div>\n
\n<\/div>\n

<\/p>\n

\n<\/div>\n
\n<\/div>\n
\n<\/div>\n
\n<\/div>\n
\n<\/div>\n
\n<\/div>\n
\n<\/a>INDIA<\/span>
 <\/b><\/div>\n
\nAll over India, puppeteers
\nthey were part of a particular caste; in Rajasthan, for example, the
\nmanipulators of the Kathputliwallas (wooden dolls) belonged to the
\nBhatt sects of Nat and Bhatt of Kankli, and the secrets of their art
\nthey passed exclusively from parents to children.This community was called
\ndescended from the mouth of Brahma (there is a legend that says that the
\nthe first puppeteer was born from the mouth of Brahma - the god who shapes
\nin the world), and for that reason he could only dedicate himself to the show. It's been a while
\ncenturies this Rajasthani manipulators dominated almost the entire north of
\nIndia.<\/div>\n
\n<\/div>\n
\nIn this country, the puppet of
\nglove is handled mainly by beggars. In Uttar Pradesh
\nknown as "Gulabo Satibo" and in the south as "Chinni Patti" (small doll).
\nThe beggar usually sings while manipulating the puppets and makes them
\nspeak with extraordinary agility.<\/div>\n
\n<\/div>\n
\nAlthough the art of manipulating and
\n making puppets has ended up in the hands of the lower classes and
\n poor, the puppeteers continue to follow all the ancient rituals.
\nThey consider that life penetrates the puppet the moment it is read
\nput or paint the eyes - that\u2019s why they make them at the end of the construction.<\/div>\n
\n<\/div>\n
\nAnother aspect of puppets
\nof India to keep in mind is that like all popular arts
\nancient, are a gift from God, and as such are revered. For example,
\n an old puppet is never thrown at him: he is treated like a dead human,
\nwith reverence, and is cremated or submerged in a river or
\nthe ocean.<\/div>\n
\n<\/div>\n
\nIt is also customary, when
\nthey keep or transport the puppets, not to mix those they represent
\nevil characters with the benign ones. These enter the scene by the
\nright and the others always do it on the left. This is especially true
\n in the shadow theater. This custom derives from another that says never
\nnothing must be given or received with the left hand.<\/div>\n
\n<\/div>\n
\nPuppet handlers,
\n of shadows or putxinellis have created works on religious themes. The
\nSouthern shadow manipulators are generally illiterate and depend on
\n\u201cSutradhar\u201d or teacher who teaches them to memorize texts
\nof the Ramayana and the Mahabharata. Others are also based on fun and
\n narrative elements.<\/div>\n
\n<\/div>\n
\nThe basic elements found in traditional shadow shows have the same plot structure:<\/div>\n
\n<\/div>\n
\nThe demon Raktabija, who has
\nobtained the favor of the gods, he challenges them. The gods first resort to
\n Visnu, who proposes that they raise their prayers to Adi Sakti.
\nThe goddess appears and promises her protection. Then he goes to the garden
\nof the devil under the guise of a beautiful woman and seduces a messenger
\nto convince the devil, son-in-law of another demon, Mahisa,
\nto take her to Raktabija's wife's palace. The devil sends
\nemissaries, among them the son-in-law, so that they go to look for the beautiful lady.
\nShe kills them all, and when Raktabija himself shows up, he
\n mata. Thus he frees the gods and maintains harmony in the world. <\/div>\n
\n<\/div>\n
\nThe performance begins with
\nmusic, a prayer in Ganapadi and a Sarasvati dance, accompanied
\nfor the madangem (timpani), the thala (digital cymbals) and the harmonium.<\/div>\n
\n<\/div>\n
\nThe secret nature of art
\nof puppets is another way to prevent their progress; although
\nthis is currently being lost, it still exists.<\/div>\n
\n<\/div>\n
\nIt seems, however, that there is an awakening due to
\n the arrival of educated people in this field and the effort of the Commission
\nof Popular Arts of the Government. There is an academy the "Darpana of Ahmedabad"
\n which teaches courses to teachers, children and professionals. In the
\nhospitals and clinics also use them in physiotherapy. In the
\nFamily Training is used to fight marriages between
\nchildren, against the dowry system, to teach hygiene and sense
\ncivic.\n<\/div>\n
\n<\/div>\n
\n<\/div>\n
\n<\/div>\n
\n
\nFig.4<\/div>\n
\n<\/div>\n
\n<\/div>\n
\n<\/div>\n
\n<\/div>\n
\n<\/div>\n
\n<\/div>\n
\n<\/div>\n
\n<\/div>\n
\n

 Fig.5<\/p><\/div>\n

\n<\/div>\n
\n<\/div>\n
\n<\/div>\n
\n<\/div>\n
\n<\/div>\n
\n<\/div>\n
\n<\/div>\n
\n<\/div>\n
\n
\n

\nJAPAN: Bunraku<\/b><\/span><\/div>\n

\n<\/div>\n
\nThe viewer contemplating by
\nfirst time a Bunraku function will immediately notice the existence of
\nthree different elements: manipulators that move the dolls, one
\nreciter who sings and recites the text of the gesticulating narration of
\nexpressive way, and a musician who plays an instrument similar to the
\nmandolin, called samis\u00e9n.<\/div>\n
\n<\/div>\n
\nBunraku is the name that
\nit is now commonly used to refer to Japanese puppet theater. In the
\nJapan the art of puppetry has been around for over a thousand years, but this one
\nterm is relatively modern. It is the abbreviation of the name of Uemura
\nBunrakken manipulator of Awaji Island. <\/div>\n
\n<\/div>\n
\nThe puppet theater had
\nfallen into a period of painful decay and Bunrakken infused him
\nnew vitality when he founded a company and a theater in Osaka in 1805, the
\nBunraku-za. It must be said, however, that the classic name of this theater is \u201cningy\u00f4
\n j\u00f4ruri \u201d. Ningy\u00f4 means "doll" (human form), and j\u00f4ruri is a type of
\n ballad or recitative derived from the name of Lady J\u00f4ruri, heroine of a
\nfamous legend of the late fifteenth century, told by bohemian minstrels
\nof that time.<\/div>\n
\n<\/div>\n
\nIt should be noted that this is not the case
\n of children's entertainment. It is a dramatic adult art that contains,
\n in many of his works, aesthetic elevation and transcendence
\nthematic of the tragedies of Shakespeare or the dramas of Lope i
\nCalder\u00f3n.<\/div>\n
\n<\/div>\n
\nThe Bunraku spectator
\nhe contemplates to his right, on one side of the stage and on a platform
\n elevated, two artists: the reciter sitting on a pile of pillows
\nthat raise his figure and diminish that of his companion, the
\ninterpreter of the semis\u00e9n or \u201csemisenista\u201d, that sits to its left.<\/div>\n
\n<\/div>\n
\nThe "tay\u00fb" reciter is considered the aristocrat of Bunraku.<\/div>\n
\n<\/div>\n
\nFor a faithful interpretation
\nof the text, must study for years (the learner needs eight years for
\nmaster the art of crying) and must know the traditions perfectly
\nsecrets of recitation that are sent from parents to children and from teachers to
\n disciples. The reciter is the voice of the puppets.<\/div>\n
\n<\/div>\n
\nThe reciter will recite,
\nhe will narrate, sing, and express his face, fleetingly or with
\ninsistence, all possible feelings of any normal situation or
\n conflicting: joys, doubts, anxieties, indecisions
\nof the dolls. (the reciter acts with all his body, in spite of not being able
\nmove from the place it occupies. It is forbidden any kind
\nof improvisation and must adhere to the strict rhythm of the melody
\n\u201cJ\u00f4ruri\u201d.<\/div>\n
\n<\/div>\n
\nThe samisenista or interpreter of the
\nsamis\u00e9n \u201ctay\u00fbtsuke\u201d sits next to the reciter. There are several types
\nof the samis\u00e9n. The one used for bunraku is the largest. The box is
\nof wood, almost square. It is covered in cat skin. The stick is
\nlong. It has only three braided silk ropes of varying thickness and two
\nbridges.<\/div>\n
\n<\/div>\n
\nThe gesture of the semi-senator
\n it is the opposite of that of the reciter, as it remains impassive,
\nexpressionless and only occasionally emits short screams and strange sounds and
\ndry, almost grunting, to mark certain beats of the rhythm.<\/div>\n
\n<\/div>\n
\nIts main occupation is
\nencourage and enhance their interpretation of the text. But his performance
\nit is not secondary. The weight of the reciter's performance and movement
\n of the dolls fall on their music. Do not give a note on time
\nit could be catastrophic for the whole set. This converts to
\nsemisenista in a kind of group director.<\/div>\n
\n<\/div>\n
\nThe stage is about ten meters long by seven meters deep and more than four meters high.<\/div>\n
\n<\/div>\n
\nThe peculiar feature of bunraku is the performance of the manipulators in the public eye.<\/div>\n
\n<\/div>\n
\nDoll size is over or
\nminus one meter. Female dolls are smaller. The manipulator
\nmain usually acts with a luxurious ceremonial kimono, kamishimo, and with
\n the head uncovered (his figure is taller than his
\ncomrades, the effect is achieved with Japanese sandals, geta, of
\nvery high sole. Like the Greek quail). Grab your head, keep your balance
\nof the doll with the left hand and produces its different movements
\nfacials. With the right hand move the doll's right hand.<\/div>\n
\n<\/div>\n
\nThe other two manipulators are dressed in black and have their faces covered in a kind of black hood.<\/div>\n
\n<\/div>\n
\nThe second manipulator moves the left hand of the doll.<\/div>\n
\n<\/div>\n
\nThe third handler is in charge of the
\nfeet. His position is very awkward as during the performance
\nyou are never right.<\/div>\n
\n<\/div>\n
\nIt is said that the performance of these three men can only be successful if they all breathe at the same pace.<\/div>\n
\nAttending a bunraku performance is equivalent
\n to contemplate the crystallization of a thousand-year-old history, a
\npure manifestation of the Japanese soul. Because bunraku is based on
\nthe harmony of different elements, in the sacrificed collaboration of
\nseveral people to achieve a goal, beauty. And harmony and
\nbeauty are the two worlds that the Japanese love most and seek endlessly <\/div>\n
\n<\/div>\n
\nIn addition to the manipulators, other people
\nthey collaborate in the development of the representation producing effects
\nspecials from the sides of the stage. <\/div>\n
\n<\/div>\n
\n<\/div>\n
\n<\/div>\n
\nFig.6 <\/div>\n<\/div>\n
\n<\/div>\n
\n <\/div>\n
\n<\/div>\n
\n<\/div>\n
\n<\/div>\n
\n<\/div>\n
\n
\nFig.7<\/div>\n
\n<\/div>\n
\n<\/div>\n
\n<\/div>\n
\n<\/div>\n
\n

Fig.8<\/p><\/div>\n

\n<\/div>\n
\n
\n<\/div>\n
\n<\/div>\n
\n<\/div>\n
\n<\/div>\n
\n<\/a>SHADOW THEATERS<\/b><\/span><\/div>\n
\n<\/div>\n
\nThe essential feature of theaters
\nof shadows, multiple and varied, which has developed in the East and
\nThe West could be summed up in these words: on the Asian side, no
\nannoying that the manipulator can be seen by the public, while, in the
\n Mediterranean band, it seems that the illusion of the show would remain
\ndestroyed if the manipulator was allowed to be seen.<\/div>\n

In the western shadow theater, the screen
\nseparates the manipulator from his audience; in the east, on the other hand,
\nthe viewer can be placed to his liking and can pass alternately
\nfrom one side of the screen to the other\n<\/div>\n

\n<\/div>\n
\n<\/div>\n
\nFig.9\n<\/div>\n
\n<\/div>\n
\n
\n<\/a>INDONESIA: Wayang Kulit<\/b><\/span><\/div>\n
\n<\/div>\n
\nThe traditional method
\nof illuminating the screen in representations of wayang kulit is the use
\nof coconut oil, or blencong, hung in such a way as to focus
\ndirectly the head of the puppeteer. The flame casts enchanting shadows and
\n the puppets seem to beat with life and energy as the light
\nhesitates due to the wind. It makes the characters breathe and be
\nthey move constantly even if they are palpated on the
\nbanana trunk platform due to the erratic lighting of the
\nlive flame.<\/div>\n
\n<\/div>\n
\n<\/div>\n
\nFig.10 <\/div>\n
\n
<\/span><\/div>\n
\n<\/a>CHINA<\/b><\/span><\/div>\n
\n<\/div>\n
\nPekingese style figures
\nthey are made of donkey skin, because they can be made into thinner strips than with
\nof other skins maintaining all their tensile strength. The skin is
\ntreated in such a way as to be transparent.<\/div>\n
\n<\/div>\n
\nThe simple characters and
\nkind have almond-shaped eyes and angular features. The unreliable ones,
\n round eyes. Comics have their eyes surrounded by a white circle. He
\ncostume is based on the usual clothing in China since the dynasty
\nT'ang until the twentieth century. The details of the wardrobe are underlined
\nskin relief. The bas-relief and high-relief techniques come from art
\n to cut paper. Handmade punches and knives were used
\ndifferent sizes and shapes.<\/div>\n
\n<\/div>\n
\nLight colors are for
\nstudents and girls. The golden one for the imperial family. The colors
\ndark are a sign of old age and black is for the lower classes.
\nIt used to be painted with vegetable dyes. They are now painted in Chinese ink.<\/div>\n
\n<\/div>\n
\nThe laces of the figures are sewn with silk thread.<\/div>\n
\n<\/div>\n
\nGenerally in the figures
\nPekingese style there are ten distinct parts: two legs, the trunk
\nupper and lower, two hands, two arms, two forearms, head and
\nthe neck. The heads are removable, so the characters can
\nchanging costumes and the same costume can be worn by characters
\nof other works. According to superstition, if the head is not removed, the
\ncharacter can come to life and act on their own. Three are used
\nwands to move the figures.<\/div>\n
\n<\/div>\n
\nThe screen is made of silk clothes.
\n cotton or blackberry paper. It leans slightly toward the audience, from
\nso that the force of gravity helps move the figures.<\/div>\n
\n<\/div>\n
\nThe light is placed between the
\nscreen and manipulator. Previously, oil lamps were used. Now
\nfluorescent. The music served as the background for the action, announcing the tickets
\n and the exits and gave relief to the battles. The musicians played
\nbehind the stage and the audience did not see them. The theater of shadows
\nconstitutes an oral tradition. The works are broadcast live
\ngeneration after generation. The repertoire of a shadow theater company
\nit could include 500 works collected over many generations. Les
\nworks, based on the great Chinese classical literature, can be
\nclassify into epics, historical legends and folk tales.<\/div>\n

The shadow theater actor instructed his son, guarding one
\n scrupulous secret about manipulation techniques. There were families
\n who sold their children as an apprentice to a theater company
\nof shadows, who sometimes hired orphans as apprentices.
\nLearning was a slow process, and it took 20 years
\nbecome a master in the trade.<\/p>\n<\/div>\n

\n<\/div>\n
\n
\n<\/a>TURKEY: Karagoz<\/b><\/span><\/div>\n
\n<\/div>\n
\nKarakoz is a character
\n-Shadow- of leather, with hump and jacket fastened at the waist. We find it at
\nTurkey, Greece and the Arab countries.<\/div>\n
\n<\/div>\n
\nFor a long time it was
\nconsidered a vulgar form of popular entertainment, historians and
\ntheater essayists had ignored him.<\/div>\n
\n<\/div>\n
\nThere is a legend, one that
\n he wants the shadow theater to have been born under the reign of the Ottoman sultan
\nMahmud (it is not known if he was I or II). Despite having no interest
\nIt is worth noting that it inspired one of the classics of the
\n Karakoz Theater.<\/div>\n
\n<\/div>\n
\nKarakoz and Hadj Iwaz (els
\nmain characters of the shadow theater) were two companions who
\nthey told stories in the palace. One day, the sultan, what a bad mood,
\nbored with their chatter, he ordered their heads cut off.<\/div>\n
\n<\/div>\n
\nAfter a few days, the sultan leaves
\nclaim the presence of the two companions. No one dared to tell him that
\nhe had been beheaded. His minister called the sheikh and he went
\nhave a brilliant idea; explained to the sultan that the two companions,
\nashamed to have bored their master, they did not dare to present themselves to
\n their court and they would continue their chatter in a room
\nseparated from that of the sultan by a curtain. Mahmud could hear them,
\nsee his shadow and they would not be ashamed to meet him
\nsovereign, whom, for a moment, they had disliked. The sultan found
\nnice idea. The chaik using slippers and imitating voices
\nthe other companions cheered the shadows behind the screen.<\/div>\n
\n<\/div>\n
\n<\/div>\n<\/div>\n
\n<\/p>\n
\nAnd so the shadow theater was born.<\/div>\n
\n<\/div>\n
\nThe Arab shadow theater is watching
\n face, on the side of the shadows, the viewer sits and is not mobile as
\nthe shadow theater of the Far East.<\/div>\n
\n<\/div>\n
\nThe figures are made of leather
\ndonkey skin) or cardboard (Tunis), about 20 cm high are supported by
\nmeans of stems placed horizontally in their main ones
\njoints. They have free and articulated legs, few of them
\n have the articulated arm other than the main hero, Karakoz himself.<\/div>\n
\n<\/div>\n
\nThe shadows all play the
\ndialogues accompanying them with different instruments (flute, tambourine of
\nrattlesnakes and a darbukka), and manipulates the figures. Sometimes you have one
\nassistant who, in this way, learns the trade. The shadow manipulator
\nimprovises the text that, well passed down from generation to generation, is always
\n adapted to the audience and local events. The
\nlighting is provided by an oil lamp. <\/div>\n<\/div>","protected":false},"excerpt":{"rendered":"

Puppets are special. The Puppet The Puppet in the East\u2026 <\/p>\n

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