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    Nang Shadow Puppets of Thailand

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    Roselyn Nebreja-Remoquillo
    Shadow puppetry (Nang) was a form of entertainment in southern Thailand, where intricately cut leather puppets would be manipulated behind a screen to tell stories through their shadows. Performances usually depicted religious tales or episodes from the Ramayana epic and were accompanied by a narrator providing dialogue, songs, and poems. Common themes included family conflicts, adventures of heroes, star-crossed lovers, and hermits teaching magic. There were two main types of Nang puppets - the smaller Nang Talung with movable arms, and the larger Nang Yai without jointed arms. Performances aimed to convey Thai values and ideology through allegories and lasted from dusk to dawn.

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    Nang Shadow Puppets of Thailand

    Uploaded by

    Roselyn Nebreja-Remoquillo
    34 views22 pages
    Shadow puppetry (Nang) was a form of entertainment in southern Thailand, where intricately cut leather puppets would be manipulated behind a screen to tell stories through their shadows. Performances usually depicted religious tales or episodes from the Ramayana epic and were accompanied by a narrator providing dialogue, songs, and poems. Common themes included family conflicts, adventures of heroes, star-crossed lovers, and hermits teaching magic. There were two main types of Nang puppets - the smaller Nang Talung with movable arms, and the larger Nang Yai without jointed arms. Performances aimed to convey Thai values and ideology through allegories and lasted from dusk to dawn.

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    kto124thartsnangshadowpuppetsofthailand

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    Shadow puppetry (Nang) was a form of entertainment in southern Thailand, where intricately cut leather puppets would be manipulated behind a screen to tell stories through their shadows. Performances usually depicted religious tales or episodes from the Ramayana epic and were accompanied by a narrator providing dialogue, songs, and poems. Common themes included family conflicts, adventures of heroes, star-crossed lovers, and hermits teaching magic. There were two main types of Nang puppets - the smaller Nang Talung with movable arms, and the larger Nang Yai without jointed arms. Performances aimed to convey Thai values and ideology through allegories and lasted from dusk to dawn.

    Copyright:

    © All Rights Reserved
    Download as PPTX, PDF, TXT or read online from Scribd
    Download as pptx, pdf, or txt
    34 views22 pages

    Nang Shadow Puppets of Thailand

    Uploaded by

    Roselyn Nebreja-Remoquillo
    Shadow puppetry (Nang) was a form of entertainment in southern Thailand, where intricately cut leather puppets would be manipulated behind a screen to tell stories through their shadows. Performances usually depicted religious tales or episodes from the Ramayana epic and were accompanied by a narrator providing dialogue, songs, and poems. Common themes included family conflicts, adventures of heroes, star-crossed lovers, and hermits teaching magic. There were two main types of Nang puppets - the smaller Nang Talung with movable arms, and the larger Nang Yai without jointed arms. Performances aimed to convey Thai values and ideology through allegories and lasted from dusk to dawn.

    Copyright:

    © All Rights Reserved
    Download as PPTX, PDF, TXT or read online from Scribd
    Download as pptx, pdf, or txt
    of 22

    NANG SHADOW

    PUPPETS OF
    THAILAND
    Shadow puppet (Thai: Nang) was one form
    of public entertainment in the south of
    Thailand. It is still very popular at village
    festivals, temple fairs, and celebrations
    such as marriages.
    Its characters are made from intricately
    cut out and articulated shapes of
    leather. They are delicately colored,
    but this does not show during a
    performance as the puppets appear
    only in shadow against a white sheet,
    with light shining through from
    behind.
    They are manipulated with rods that control
    movements of the arms and legs. The
    puppets are colorful but really they do not
    have to be because you only see the black
    shadows. In the second picture you can see
    the people holding the puppets. Normally
    you can see only the shadows like in the third
    picture.
    Performances:

    • have a religious theme or have an episode


    from the Ramayana epic which contains
    dozens of individual stories. They may also be
    specially written to include up-to-the minute
    reflections, songs, and poems about local
    events and matters of current interest in the
    district or country.
    there are hundreds of different
    characters each with a
    distinctive shadow, but the
    show will almost always
    include a clown, funny old
    man, scatter - brained old
    woman or rather stupid yokel,
    who are all great favorites
    with the fun - loving
    audiences.
    • Mr. Suchart Sapsin, he is a man of
    many talents. He is not only an
    expert in the craft of making the
    puppets but he is also an award -
    winning writer and poet. He is
    narrator, speaking or singing all the
    parts using different voices, and he is
    a superb mimic
    Themes commonly seen in Nang performances
    include

    • family conflict,
    • fantastic adventures of a wandering hero,
    • star-crossed lovers and
    • romantic tales, hermits teaching magic to their
    apprentices, and abandoned children seeking lost
    loved ones A hermit (adjectival form: eremitic or hermitic) is a
    person who lives, to some degree, in seclusion from
    society.[1] In Christianity, the term was originally applied
    to a Christian who lives the eremitic life out of a religious
    conviction
    Nang attempts to relay to the
    audience the importance of
    Thai values and ideologies in
    a changing world, however,
    the mystical and historical
    events remain fundamental in
    all performances.
    The association with karma (all actions have
    equal reactions) and the underlying message
    of rewards and punishments act as allegories
    for Buddhist morality and philosophy. And it
    is usually performed during the country's dry
    season (February to August).
    Two Types of the Nang:

    • Nang Talung is played with leather


    puppets, each representing a separate
    character, about 50 centimeters high.
    They usually possess a movable, jointed
    arm controlled by a string.
    • Nang Yai is normally made of cowhide and
    rattan, a large, decorated scenes and
    characters measuring around two meters
    high and a meter wide. They do not have
    jointed arms, but the themes and styles
    remain the same.
    g
    • There are over 300 Nai Nang in the southern
    regions of Thailand.
    • They perform using the puppets on a backlighted
    white screen, and hide themselves in small wood
    and bamboo shelters.
    • The performances run from dusk
    to dawn and incorporate
    narration, songs, prose, and the
    performer's improvised dialogue.
    • The rhythm and fluidity of each
    performance is essential in
    maintaining audience interest, thus
    the Nai Nang must vary their
    techniques and story lines.
    Characters such
    as:
    • gods and
    goddesses,
    • kings and
    queens,
    • magical figures,
    and
    • comedians.

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