{"id":190,"date":"2017-10-02T16:51:10","date_gmt":"2017-10-02T13:51:10","guid":{"rendered":"http:\/\/disco.teak.fi\/asia\/?p=190"},"modified":"2021-10-19T14:24:17","modified_gmt":"2021-10-19T11:24:17","slug":"nang-yai-theatre-of-the-large-shadow-figures","status":"publish","type":"post","link":"https:\/\/disco.teak.fi\/asia\/nang-yai-theatre-of-the-large-shadow-figures\/","title":{"rendered":"<em>Nang Yai<\/em>, Theatre of the Large Shadow Figures"},"content":{"rendered":"\n\t\t<style type=\"text\/css\">\n\t\t\t#gallery-1 {\n\t\t\t\tmargin: auto;\n\t\t\t}\n\t\t\t#gallery-1 .gallery-item {\n\t\t\t\tfloat: left;\n\t\t\t\tmargin-top: 10px;\n\t\t\t\ttext-align: center;\n\t\t\t\twidth: 100%;\n\t\t\t}\n\t\t\t#gallery-1 img {\n\t\t\t\tborder: 2px solid #cfcfcf;\n\t\t\t}\n\t\t\t#gallery-1 .gallery-caption {\n\t\t\t\tmargin-left: 0;\n\t\t\t}\n\t\t\t\/* see gallery_shortcode() in wp-includes\/media.php *\/\n\t\t<\/style>\n\t\t<div id='gallery-1' class='gallery galleryid-190 gallery-columns-1 gallery-size-full'><dl class='gallery-item'>\n\t\t\t<dt class='gallery-icon landscape'>\n\t\t\t\t<a href='https:\/\/disco.teak.fi\/asia\/wp-content\/uploads\/2017\/10\/tha13.jpg'><img width=\"600\" height=\"480\" src=\"https:\/\/disco.teak.fi\/asia\/wp-content\/uploads\/2017\/10\/tha13.jpg\" class=\"attachment-full size-full\" alt=\"\" loading=\"lazy\" aria-describedby=\"gallery-1-809\" \/><\/a>\n\t\t\t<\/dt>\n\t\t\t\t<dd class='wp-caption-text gallery-caption' id='gallery-1-809'>\n\t\t\t\t<em>Nang yai<\/em> puppeteers operate figures cut out of leather <span>Marja-Leena Heikkil\u00e4 Horn<\/span>\n\t\t\t\t<\/dd><\/dl><br style=\"clear: both\" \/>\n\t\t<\/div>\n\n<p><i>Nang yai<\/i> (\u201clarge puppet\u201d) is an ancient form of shadow theatre in which dancing puppeteers perform scenes from the <i>Ramakien<\/i> by presenting cut-out leather figures against a semi-transparent cloth screen. In the latter part of the 20<sup>th<\/sup> century it became very rare but attempts have recently been made to revive it.<\/p>\n<h2>The Question of its Origin<\/h2>\n<p>The origin of shadow theatre is a standard problem in Asian theatre studies, as it has been performed over a wide area from Turkey in the west to China in the east. Similarly, the origin of <i>nang yai<\/i> is one of the widely discussed topics in Thai theatre studies. One could summarise by saying that there seem to have been several attempts to explain the origins of this unique form of shadow theatre.<\/p>\n<p>According to a popular theory, <i>nang yai<\/i> originates from South Thailand and was received there through the Srivijaya Empire. It could also have been transmitted via the sea routes directly from India, which is often regarded as the cradle of many of the Southeast Asian shadow theatre traditions.<\/p>\n<p>The problem with this theory, however, is that no Indian or any other Southeast Asian shadow theatre traditions employ similar, static picture-like images as used in <i>nang yai<\/i>. Moreover, in no other tradition in the whole of Asia do the puppeteers dance while operating the figures as is the case in <i>nang yai<\/i>. The only \u201csister\u201d form with similar practices is <a href=\"http:\/\/disco.teak.fi\/asia\/shadow-theatre-sbek-thom-and-sbek-touch\/\"><i>sbek thom<\/i> in Cambodia<\/a>, which is discussed in connection with Cambodian theatre.<\/p>\n<p>Early surviving <i>nang yai<\/i> figures, which were made during King Rama II (1809\u20131824), show a variety of stylistic features, such as the mask-like faces of the demons and monkeys, which clearly relate them to the <i>Ramakien<\/i> imagery of the Central Plains of Thailand. Whatever the origins of <i>nang yai<\/i> are, it is self-evident that it is organically interwoven into the Thai <i>Ramakien<\/i> tradition as a whole.<\/p>\n<p><i>Nang yai<\/i> is the earliest theatrical art form mentioned in Thai literary sources. The Ayutthaya Palatine Laws of the 14<sup>th<\/sup> and 15<sup>th<\/sup> centuries mention <i>nang yai<\/i> on several occasions. This indicates that <i>nang yai<\/i> must indeed have been well-established even by then. There even exist references indicating that <i>nang yai<\/i> may have been performed during the Sukhothai period, but since these references belong to the fictional literature of later periods, scholars have been very cautious in accepting this as a fact.<\/p>\n<h2>Dancing Puppeteers<\/h2>\n\n\t\t<style type=\"text\/css\">\n\t\t\t#gallery-2 {\n\t\t\t\tmargin: auto;\n\t\t\t}\n\t\t\t#gallery-2 .gallery-item {\n\t\t\t\tfloat: left;\n\t\t\t\tmargin-top: 10px;\n\t\t\t\ttext-align: center;\n\t\t\t\twidth: 100%;\n\t\t\t}\n\t\t\t#gallery-2 img {\n\t\t\t\tborder: 2px solid #cfcfcf;\n\t\t\t}\n\t\t\t#gallery-2 .gallery-caption {\n\t\t\t\tmargin-left: 0;\n\t\t\t}\n\t\t\t\/* see gallery_shortcode() in wp-includes\/media.php *\/\n\t\t<\/style>\n\t\t<div id='gallery-2' class='gallery galleryid-190 gallery-columns-1 gallery-size-full'><dl class='gallery-item'>\n\t\t\t<dt class='gallery-icon landscape'>\n\t\t\t\t<a href='https:\/\/disco.teak.fi\/asia\/wp-content\/uploads\/2017\/10\/tha14.jpg'><img width=\"600\" height=\"400\" src=\"https:\/\/disco.teak.fi\/asia\/wp-content\/uploads\/2017\/10\/tha14.jpg\" class=\"attachment-full size-full\" alt=\"\" loading=\"lazy\" aria-describedby=\"gallery-2-810\" \/><\/a>\n\t\t\t<\/dt>\n\t\t\t\t<dd class='wp-caption-text gallery-caption' id='gallery-2-810'>\n\t\t\t\t<em>Nang yai<\/em> performance in the <em>Ramakien<\/em> murals of Wat Phra Kaew <span>Jukka O. Miettinen<\/span>\n\t\t\t\t<\/dd><\/dl><br style=\"clear: both\" \/><dl class='gallery-item'>\n\t\t\t<dt class='gallery-icon landscape'>\n\t\t\t\t<a href='https:\/\/disco.teak.fi\/asia\/wp-content\/uploads\/2017\/10\/tha15.jpg'><img width=\"600\" height=\"400\" src=\"https:\/\/disco.teak.fi\/asia\/wp-content\/uploads\/2017\/10\/tha15.jpg\" class=\"attachment-full size-full\" alt=\"\" loading=\"lazy\" aria-describedby=\"gallery-2-812\" \/><\/a>\n\t\t\t<\/dt>\n\t\t\t\t<dd class='wp-caption-text gallery-caption' id='gallery-2-812'>\n\t\t\t\tOld <em>nang yai<\/em> puppets in an exhibition at the Bangkok National Museum <span>Jukka O. Miettinen<\/span>\n\t\t\t\t<\/dd><\/dl><br style=\"clear: both\" \/>\n\t\t<\/div>\n\n<p>The <i>nang yai<\/i> is an exceptional and clearly very archaic form of shadow theatre. In most Asian shadow theatre genres the puppets are rather small human figures, cut-outs, often with movable limbs. The <i>nang yai<\/i> puppets, on the other hand, are large, 1\u20132 metres oval or almost round non-articulated leather silhouettes, in which the characters from the <i>Ramakien<\/i> are engraved as if in a frame.<\/p>\n<p>A large screen, 7\u201310 metres wide and some 3 metres high, is erected on poles approximately 2.5 metres above the ground. In front of the screen are often the musicians of the traditional Thai <i>piphad<\/i> orchestra, consisting of oboes, xylophones, gong sets, and other percussion instruments. Sitting and sometimes standing among the orchestra are two narrators, who recite and sing the text enacted by the silhouettes on the screen.<\/p>\n<p>The puppeteers move with their figures both in front of the screen and behind it. In Asian puppet theatre the puppeteer usually has a distinctly vocal role, often reciting and singing the lines. In <i>nang yai<\/i> the manipulator acts merely as a dancer, supporting the large leather figure with two rods in his hands.<\/p>\n<p>The dialogues and long palace scenes appear to be static, but in action scenes, the manipulator dances to musical tones of the accompaniment reflecting various moods and situations. His movements and positions, seen by the audience from under the screen, must correspond to the character of the figure he holds. Heroes express restrained masculine energy, demons have strong, open movements while princesses move gracefully. The <i>nang yai<\/i> is thus a complex art form, combining figurative art, the stock melodies of Thai theatrical music, and the art of singing, as well as dance movements.<\/p>\n<h2>From Court Theatre to a Rarity<\/h2>\n<p><i>Nang yai<\/i> is supposed to have originally been court theatre with many religious and ritual features. Making the puppets and holding an actual performance involved many ritual features. <i>Nang yai<\/i> plays were performed in the evening by the light of coconut-shell fires. The evening performance was sometimes preceded by a prologue in the afternoon, the <i>nang ram (nang rabam)<\/i>, which was performed in daylight.<\/p>\n<p>In the latter, the puppets were painted in bright colours, while puppets for the evening performances were less colourful. Common to both types of puppets is their decorative style, deeply related to the aesthetic principles of the visual arts of the late Ayutthaya and early Bangkok periods. The leading characters are often depicted as individual figures sitting, walking, fighting etc. The larger figures may include Rama in his chariot, couples such as combatants or lovers, or even complete scenes.<\/p>\n<p>In the latter half of the 20<sup>th<\/sup> century, <i>nang yai<\/i> was in danger of extinction, as it was performed by only one group of aged puppeteers outside Bangkok. The College of Dramatic Arts in Bangkok and its sub-branches around the country have been trying to maintain the tradition as a part of classical dance-drama, particularly in the play <i>Inao<\/i>, in which it is performed as a play within a play.<\/p>\n\n\t\t<style type=\"text\/css\">\n\t\t\t#gallery-3 {\n\t\t\t\tmargin: auto;\n\t\t\t}\n\t\t\t#gallery-3 .gallery-item {\n\t\t\t\tfloat: left;\n\t\t\t\tmargin-top: 10px;\n\t\t\t\ttext-align: center;\n\t\t\t\twidth: 100%;\n\t\t\t}\n\t\t\t#gallery-3 img {\n\t\t\t\tborder: 2px solid #cfcfcf;\n\t\t\t}\n\t\t\t#gallery-3 .gallery-caption {\n\t\t\t\tmargin-left: 0;\n\t\t\t}\n\t\t\t\/* see gallery_shortcode() in wp-includes\/media.php *\/\n\t\t<\/style>\n\t\t<div id='gallery-3' class='gallery galleryid-190 gallery-columns-1 gallery-size-full'><dl class='gallery-item'>\n\t\t\t<dt class='gallery-icon landscape'>\n\t\t\t\t<a href='https:\/\/disco.teak.fi\/asia\/wp-content\/uploads\/2017\/10\/tha16.jpg'><img width=\"600\" height=\"480\" src=\"https:\/\/disco.teak.fi\/asia\/wp-content\/uploads\/2017\/10\/tha16.jpg\" class=\"attachment-full size-full\" alt=\"\" loading=\"lazy\" aria-describedby=\"gallery-3-813\" \/><\/a>\n\t\t\t<\/dt>\n\t\t\t\t<dd class='wp-caption-text gallery-caption' id='gallery-3-813'>\n\t\t\t\tA <em>nang yai<\/em> performance at the Wat Arun Festival, near Bangkok <span>Jukka O. Miettinen<\/span>\n\t\t\t\t<\/dd><\/dl><br style=\"clear: both\" \/>\n\t\t<\/div>\n\n<p>In the late 20<sup>th<\/sup> century and the early 21st century <i>nang yai<\/i> is every now and then performed at theatre festivals, and fear of its extinction is no longer so acute. In contemporary productions, which combine traditional forms with innovations, <i>nang yai<\/i> is sometimes combined with dance and other theatrical forms.<\/p>\n","protected":false},"excerpt":{"rendered":"<p>Nang yai (\u201clarge puppet\u201d) is an ancient form of shadow theatre in which dancing puppeteers perform scenes from the Ramakien by presenting cut-out leather figures against a semi-transparent cloth screen. In the latter part of the 20th century it became very rare but attempts have recently been made to revive it. The Question of its [&#8230;]<\/p>\n","protected":false},"author":2,"featured_media":2438,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":[],"categories":[10],"tags":[47,34],"acf":[],"_links":{"self":[{"href":"https:\/\/disco.teak.fi\/asia\/wp-json\/wp\/v2\/posts\/190"}],"collection":[{"href":"https:\/\/disco.teak.fi\/asia\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/disco.teak.fi\/asia\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/disco.teak.fi\/asia\/wp-json\/wp\/v2\/users\/2"}],"replies":[{"embeddable":true,"href":"https:\/\/disco.teak.fi\/asia\/wp-json\/wp\/v2\/comments?post=190"}],"version-history":[{"count":7,"href":"https:\/\/disco.teak.fi\/asia\/wp-json\/wp\/v2\/posts\/190\/revisions"}],"predecessor-version":[{"id":2955,"href":"https:\/\/disco.teak.fi\/asia\/wp-json\/wp\/v2\/posts\/190\/revisions\/2955"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/disco.teak.fi\/asia\/wp-json\/wp\/v2\/media\/2438"}],"wp:attachment":[{"href":"https:\/\/disco.teak.fi\/asia\/wp-json\/wp\/v2\/media?parent=190"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/disco.teak.fi\/asia\/wp-json\/wp\/v2\/categories?post=190"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/disco.teak.fi\/asia\/wp-json\/wp\/v2\/tags?post=190"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}