ABSTRACT
The shadow-puppet theatre, Wayang Kulit, is the oldest documented theatrical form in Bali. It still survives, performed for both ritual and entertainment purposes, despite the recent overwhelming influx of technologically based entertainment and the seemingly endless flow of tourists visiting the island. Wayang, or Wayang Kulit, are carved, flat, leather puppets with highly stylistic shapes and colours. The puppets represent animals, demonic beings, mythical figures, human beings of all social strata, heavenly beings and scenic props or figures. In a Wayang Kulit performance, a dalang puppet master silhouettes these flat, cut-out figures against a translucent, white screen with an oil lamp as a single source of light. While Wayang theatre has a fixed structure and dramatic characters, its performance invariably involves the creativity and improvisation of the dalang. He (although the dalang can be male or female, for ease of convention the dalang is referred to as ‘he’ throughout this book) is the creator and central focus of the Wayang performance, because he unites the role of dramatist and performer. The dalang has been responsible for passing down culture and tradition from one generation to another. He is also an interpreter of philosophy and religion and an accomplished actor responsible for the detailed vocal characterisation of each puppet. In addition, he demonstrates complex musical skills in his interaction with the live gamelan orchestra that always accompanies a performance. He frequently drums with one foot, against a wooden box, as percussive punctuation to the performance and as a system for cueing the orchestra. So, he is simultaneously solo performer, adaptor, director, puppeteer, musician and musical director. Sometimes, when a performance has a ritual purpose in certain temple ceremonies, he also functions as priest.
