Thailand_Nang Talung(Small Shadow Puppet Theater) скачать в хорошем качестве

Thailand_Nang Talung(Small Shadow Puppet Theater)

Nang Talung is a traditional style of shadow puppetry from the southern region of Thailand. Records note that Nang Talung originated from Phatthalung, the birthplace of puppet theater, as the people of Phatthalung embraced influences from Indian puppet theater and created new forms. In the past, Nang Talung was an essential part of funerals, but to­day it is mainly staged as an outdoor performance, although it is gradually diminishing in popularity due to the develop­ment of modern media. In response, Nang Talung troupes are attempting various innovations such as adding Western instruments to their performances. #thailand #culturalheritage #puppetshow Official: https://www.unesco-ichcap.org/ Facebook:   / ichcap   Instagram:   / unesco_ichcap   Script “Nang Talung” is a traditional performing art that has been part of people’s lives in the south of Thailand for a very long time. It is a form of storytelling through shadow puppetry which is commonly practiced throughout of this region of the world. The audience are impressed not only by the animating shadow of the puppets that casted on the screen, but from the sharp wit of the puppeteer who could take any role throughout the show; be it a girl “Men are all the same, aren’t they? Forget old one when fall for a new one.” “Because I didn’t bring you to the temple.” “Then, who brough me to the temple?” “Tong and Kaew brough you to the temple.” The king “Lord Buddha teach us that To forget a wrong is the best revenge.” hermit, hero, heroine, villain, and especially various characters of jokers “Don’t be reckless, don’t be impetuous.” Each role would help reflect the social context; morals, virtue, politics, life style and people’s behavior. Besides making the puppets alive and entertaining the audience, the puppeteers, on behalf of the patron who sponsors the performance, also communicate spiritually to the unseen realm to redeem his/her petition by staging the nang talung as offering. What would it be if nang talung puppets are going to be displayed lifelessly in museums? The influx of Western culture has forcefully jeopardized the existing of nang talung. How could tradition puppet troupes survive in this everchanging world? Or would it be possible to adjust and integrate with the Western cultural influences. The term “nang talung” was coined by Bangkok people The word “Talung” came from “Phatthalung,” the southern province where the puppetry troupe came from. upon seeing the shadow puppet spectacle from the south performed in Bangkok in the King Rama III’s reign (early 19th century). In 1876, Prince Damrong Rajanubhab wrote in his book that nang talung was a new kind of performing art adapted from a kind of Indian puppetry by the people in Phatthalung Province. It was called “nang kuan” by the people there. People in the south believed that nang talung puppetry was originally from India. There is still a ritual to animate the hermit puppet, and the Shiva puppet at the beginning of each performance attesting the Indian cultural heritage. While the origin of this puppetry still needs further debate and investigation, the performing art itself shed more light on the matter. The early nang talung repertoires were taken from the story of Ramakien just like those of nang yai or grand shadow puppetry, another ancient form of shadow puppet in Ayutthaya period. Nang talung puppets themselves are similar in style and size to the Javanese “wayang kulit” puppets. They also have movable limbs and mouths. The verse recited during the rite of paying homage to teachers mentioned the names, Kru Ta Nui, Ta Nak Tong, and Nai Tong Chang who are believed to be the forefather of nang talung who learned the art of puppetry from the Malays. “I pray to Ta Nui, Ta Nak Tong, masters of puppetry Tonight, I pray…” There was no electricity in the past. We used coconut oil lamp suspended from beam over the canvas screen. We used the light generated from the lamp to cast the shadow from the puppets onto the screen. After 1957, we began to use generator to produce electricity for our performance. Nang talung needs light Without light we couldn’t perform, the plain white canvas would mean nothing. The Queen: “You must have someone bring the black and the white crows for me. I need the blood from both of them to make the medicine to cure your eyes. The King: “Jampatong” The Queen: “Yes dear” The King “May I ask, do you your own life ?” A good puppeteer must possess exceptional vocal quality to delivers the narration, mood songs, and all the dialogue as he presents a story for up to eight hours. In the past, before 1967, we didn’t even have amplifier. Back then, if the puppeteer didn’t have powerful voice there’s no chance for him to be famous. Nang talung is an intangible cultural heritage of the southern people. The language used in the performance is the southern dialect which is difficult for people in other regions to understand.