ABSTRACT
This chapter discusses Christian shadow theater, dance theater, and folk theater as they are being used in the contemporary church contexts in Indonesia. In the most dramatic scenes of the play, for example, the death of Jesus, the music breaks into a directed cacophony of sound to illustrate the dramatic quality of the scene. Siti Aminah aims at making her renditions of wayang wahyu similar to movies, especially in terms of dynamics and dramatics. Wayang wong—a traditional dance drama employing human actors-dancers who impersonate shadow puppets—is yet another example of theatrical form that has been infused with Christian elements. The resemblance of wayang wahyu puppets to human figures has altered the technique of moving them, making it more difficult for the puppeteer. In general, wayang kulit purwa puppets are much easier to operate than wayang wahyu puppets because of their shapes.
