mapeh

• Highest aim of performers

  To put beauty into every motion
• STYLES OF MUSIC


  • Erh-huang
  • His-pl
  • fan-pan (commonly used for sorrowful songs)
• MUSICAL INSTRUMENTS


  • AEROPHONE

  1. Ti-ts-cross fute: usually played along singing

  2 Siao-recorded flutes: usually played along singing

  3 Sona-trumpet, announces prosperous occasions (victories, good news etc.)

  CHORDOPHONE

  1 Yue-ch'in-is a four-stringed moon guitar

  2 San-sien is a three-stringed instrument

  3 Pl-p's-is similar to lute with four strings

  IDIOPHONE

  1 Ta-lo

  2 Siao-lo

  3. Tan-pi-ku kettle drum; used to create the tempo of the performance
• KABUKI


  A classical form of Japanese theater combining dramatic performance with traditional dance
• Kabuki is the traditional form of theater which began at the end of the 16th century
• Kabuki became the most successful theater or entertainment in the red light districts of the great cities
• VOCAL PATTERN AND TECHNIQUES

  • Ipponchoshi or the continuous pattern, used in speech as building up to an explosive climax in the aragoto
  • Nori-adapted from the chanting
  • Yakuharai - subtle delivery of poetic
• Gagaku


  Classic court music imported during the Heian period
• Kagura

  Performed in Shinto shrines
• Nagauta


  Long song which reached a golden age in the Edo period
• Noh


  Dance for the henge mono
• Wayang


  An Indonesian and Malay word for "theater"
• Wayang Kulit


  Puppet theater where the puppets are made of leather
• Dalang


  The puppeteer, characterized by being creative, humorous, and flexible, manipulates the puppets, sings and taps out signals to the orchestra
• The dalang sings the mood songs (suluk) at regular intervals during performance
• GAMELAN ENSEMBLE


  • Saron-xylophone of heavy bronze bars
  • Gender-bronze xylophone with resonance chambers beneath
  • Bonang-set of bronze bowls
  • Gong and Kempul-hanging gongs
  • Kenong and Ketuk-single inverted bronze bowl
  • Gambang-wooden xylophone
  • Rebab-two-stringed fiddle
  • Suling-flute
  • Kendang-horizontal drum beat with the fingers on both ends
  • Tjelempung-a zither of thirteen double strings
• Peking Opera


  A form of Chinese opera which combines music, vocal performance, dance and acrobatics
• ROLES AND CHARACTERS IN PEKING OPERA

  • Sheng-main male role, often a warrior or handsome man
  • Xiaosheng-young and handsome male
  • Wusheng-martial male character highly trained in acrobatics
  • Laosheng-dignified older male role
  • Dan-any female role
  • Laodang-old woman
  • Wudan-martial woman
  • Daomadan-young female warriors
  • Qingyi-virtuous and elite women
  • Huadan-vivacious and unmarried women
  • Jing-a painted face male
  • Chou-male clown role
• MAIN SKILLS OF PEKING OPERA PERFORMERS

  • Song
  • Speech
  • Dance-acting
  • Combat acrobatics and fighting
• Aesthetic Aims and Principles of Movement in Peking Opera


  The highest aim is to put beauty into every motion
• STAGE ELEMENTS IN PEKING OPERA


  • Walking in large circle symbolizes travelling
  • A character straightening costume and tread signifies an important character is about to speak
  • Pantomimic opening and closing of doors and fighting
• COSTUME: XINGTOU


  Popularly known as Xifu in Chinese theatre
• PROPS

  Peking Opera utilizes very few props
• KABUKI


  A form of traditional Japanese drama with highly stylized song, mime, and dance
• Kabuki is performed only by male actors
• Kabuki


  Derived from the verb kabuku, meaning "to lean" or "to be out of the ordinary"
• KABUKI STAGE FEATURES


  • Hanamichi-flower path, walkway which extends into the audience for dramatic entrances and exits
  • Kogakudo-Kabuki theatre with stages both in front of the audience and along the sides
  • Mawaro Butai-Interior of the theatre contains a revolving stage
  • Suppon-Platform that rises from below the stage
  • Hanamicho-Walkway that cuts through the audience seating area to connect the stage with the back theatre
• THREE MAIN CATEGORIES OF KABUKI PLAY


  • Jidaimono-Historical or pre-Sengoku period stories
  • Sewamono-Domestic or post-Sengoku stories focused on commoners, family drama and romance
  • Shosagoto-Dance pieces
• MIE


  The actor holds a picturesque pose to establish his character and his house yago
• TWO CATEGORIES OF KABUKI ACTORS


  • Onna-gata-female roles
  • Aragoto-male roles
• Kabuki Make-up


  Actors paint their faces and necks white adding stylized lines in red, black and blue. Red and blue are aragoto roles. Onne-gata have very little paint. Oshiroi rice powder used for skin whitening. Kumadori-enhances or exaggerates facial lines to produce dramatic animal or supernatural character
• Kabuki Props

  • Fans-symbolize wind, a sword, tobacco pipe, waves or food
  • Kimono and obi worn by female characters
  • Hakama trousers worn by male characters
• Costume changing is considered an art in Kabuki
• Kabuki performances are accompanied by a traditional orchestra
• Hindu epics used in Wayang Kulit

  • Ramayana
  • Mahabharata
  • Serat Menak
• Elements of Wayang Kulit Performance

  • Puppeteer-Dhalang (Java) or Dalang (Bali)
  • Cempala-Hammer used by the dhalang to knock on the puppet box
  • Kepyak-Metal plates that the dhalang hits with his foot
  • Gamelan-Traditional Indonesian orchestra
  • Blencong-Light source
  • Pesindhen and Penggeron- Pesindhen - female singers, Penggerong-male chorus
  • Gawang and Kelir- A screen frame and screen. The main focus of the performance
  • Gedebog-Banana logs
  • Kothak-Puppet box
• Folk Dance


  A dance that reflects the life of the people of a certain country or region
• Dance Researcher


  Francisca Reyes Aquino
• Pangalay


  Dance Culture: Lowland Muslim (Coastal), Place of Origin: Sulu
• Pangalay


  Country of Influence: Thailand, Malaysia, Burma, Cambodia and Indonesia, Ethno-Linguistic Group: Tausug, Classification: Wedding/Festival Dance