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This article examines wayang potehi, a cloth glove puppet theatre of southern Fujian origin performed on Java. It outlines the genre's emergence in Fujian, its arrival in the archipelago, and historical and contemporary practice. This article seeks to respect potehi's Hokkien roots, Indonesian practice, and the place of its genre in a dynamic regional history as it traces the development, practice and uses of the genre. Contemporary potehi patronage often exhibits the strategies of the mixed-culture non-Chinese-speaking communities of East and Central Java to perform a streamlined, integrationist, and loyal Sino-Indonesian identity., Dedicated to the memory of Ki Sesomo This article examines a Sino-Indonesian form of theatre, specifically the cloth glove puppet theatre of southern Fujian (Hokkien) origin known as budaixi (Pinyin), [...]

As new possibilities open up to women in India's changing economy, women puppeteers are transforming the face of both traditional and contemporary forms of Indian puppetry. An investigation into the work of several prominent women puppeteers, from rural and urban settings, shows the range of challenges these women artists face as well as the important contributions they are making to grow and sustain India's puppetry arts. Claudia Orenstein is an associate professor of theatre at Hunter College and the Graduate Center, CUNY. She is co-editor of The Routledge Companion to Puppetry and Material Performance. Her other publications include The World of Theatre: Tradition and Innovation, Festive Revolutions: The Politics of Popular Theatre and the San Francisco Mime Troupe, and many articles on puppetry and Asian theatre., Indian puppetry, long a formidable art playing a central role in religious rituals and village life, is caught up today in India's seismic economic and cultural shifts. Many traditional forms [...]

This article charts the increasing involvement of women performers in Balinese topeng (mask dance) and emerged from discussions and emails among the authors. Following an overview explaining women's traditional absence from this form and noting the pioneering women who have been at the forefront of change, the authors discuss how, as non-Balinese female performers and researchers, they discovered that they shared many similar stories, curiosities, and challenges relating to their training and experiences. Their insights provide a detailed picture of some important issues for women in Asian theatre. MARGARET COLDIRON is a London-based theatre director, performer, teacher, and specialist in masks. She performs Balinese music and dance with Gamelan Lila Cita and Lila Bhawa Indonesian Dance Company and is the associate director of Thiasos, a theatre company specializing in intercultural productions of ancient Greek plays. Her publications include Trance and Transformation of the Masked Actor in Japanese Noh and Balinese Dance Drama (2004) and articles and reviews in Asian Theatre Journal, New Theatre Quarterly, Indonesia and the Malay World, and Women and Performance. She is currently the deputy head of the BA in World Performance Program at East 15 Acting School, University of Essex. Born in Sicily, trained in Bali, and currently based in Tasmania (Australia), Carmencita Palermo is a researcher, writer, and performer who focuses on Indonesian masked dance performance and mask embodiment cross-culturally. Her performance and teaching practices explore the dynamics of interaction between body, masks, music, audience, and environment in different cultural contexts, with particular attention to the roles and perspectives of women. She has performed and taught in Australia, Indonesia, Europe, and Brazil. She is currently a postdoctoral researcher at the University of Naples. TIFFANY STRAWSON is a performing artist, researcher, and dramaturg who makes performances in site- and culture-specific contexts. She is undertaking doctoral research on the embodiment of Balinese topeng mask in a posttraditional, women-centered, and intercultural context--exploring notions of presence, translation, and the relationship between movement and ritual. In 2007 she initiated the Bali Unmasked project, which promotes intercultural exchange by supporting Balinese performers to teach and perform in the United Kingdom. She also mentors UK students' studies in Bali. Her academic publications include contributions to theatre, dance, performance, and training., At the Women in Asian Theatre conference held at the University of Lincoln in September 2013, a panel focused on women performers of the Balinese masked dance-drama topeng (the word [...]

Introduction In November 2005, Pawel Chomczyk, Dagmara Sowa, and several shipping crates arrived at JFK Airport in New York City. In one of the crates were twenty-one handcrafted puppets designed [...]

The article analyzes the satirical puppet show featured in Volume Two of Eliza Haywood's "The Female Spectator." It discusses insights about the public's reaction to puppet shows during the 18th-century, and how puppet theaters figured in the literary and cultural tastes of the period. It cites the contempt of some elite writers who regarded puppet shows as a form of declining culture, and suggests that Haywood viewed puppet shows as having little value in affecting social satire.

Copyright of Menotyra is the property of Lithuanian Academy of Sciences Publishers and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Menotyra is the property of Lithuanian Academy of Sciences Publishers and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

The article discusses the characteristics and performance styles of early Australian colonial puppetry during the first fifty years of European settlement in Australia. It examines the formal and informal modes of puppetry, which includes self-assembled toy theaters, grand exhibitions of mechanical automata, and roadside glove puppet shows and marionette theaters. The article also presents the two factors influencing the development of colonial puppetry in 19th century Australia.

Traditional norms and values stood in the way of radical experimentation with the form of wayang until Indonesia's postcolonial era. The same impediments did not exist for colonial European artists. Edward Gordon Craig formulated his theories of the über-marionette with reference to wayang, while Richard Teschner adapted wayang puppets for his unique Viennese puppet theatre. This initial encounter of Europe with wayang articulated a pattern of colonial exploitation: Asian products were alienated from their producers and transported to Europe stripped of direct connections to the people and conditions from which they arose. The 1960s ushered in a new era of intercultural communication. A major influx of Indonesian puppetry came to the United States when a generation of budding American puppet artists received direct tuition from Indonesian puppet masters at California summer schools in the early 1970s. Many subsequently went to Java and Bali themselves for lengthy periods of wayang study and apprenticeship. Some of these artists crossed traditional Indonesian puppets forms with other modes of practice to create complex hybrids. Much of the most interesting contemporary wayang work today is taking place along transnational axes. Wayang has been embraced by international artists and companies in order to tell idiosyncratic myths and celebrate the sacred and the ethereal. [ABSTRACT FROM AUTHOR]

The article explores the puppet adaptations of notable human plays. Actors usually depicts plays in passing through one mask to another that had the strangest immediacy and candor. Several plays have been portrayed in stage with varied costumes to represents different characters. Puppet actors has also the tendency to become vivid in their translations.

Discusses symbolism, popular drama, and politics and art in Belgium from 1886 to 1910. Performance of the Nativity Play, about the birth of Jesus Christ in puppet theaters in Belgium; Belgian versions of the Massacre of the Holy Innocents examined; Similarity of structure of the "The Massacre of the Innocents," by Léopold Leloup with Nativity Plays performed decades before 1910; Discussion of how the slaughter of five to ten million Africans during Belgian colonization let to an expression of the images in folk narratives.

In this article, the author describes some of the photographs of Taiwan she captured in the 1960s. The author looks back at the history of each photograph. She explores the social conditions in Taiwanese cities through the photographs. In addition, the author features brick farm houses and puppet theaters as extremes of rural architecture in the country.

Ed. note: We present this essay, translated for the first time from Russian (and Czech) into English, both for its insights into traditional Czech and Russian popular theatre and, perhaps [...]