In Vietnamese the most popular puppetry is the water puppet shows that go back to the 11th century. “Much of Vietnamese cultural heritage originates from the Red River, including the unique art of water puppetry” (video file, 2010). Imagine wearing waders and going into a waist deep pool of water to use large rods, string devices for movement and the rudders that support the puppet from under the water that can’t be seen by the audiences. These water puppets are handmade and made of wood then coated with lacquer paint to protect them from the water and to give them color for the performance. These wooden puppets can weigh up to 15 kg and there are 8 puppeteers behind the scenes to control these puppets. It takes a lot of strength and sometimes …show more content…
This culture has a lot of beliefs and traditions that make it charming. These beliefs and traditions are shown by the performing arts of theatre, film, dance, etc. which somehow voice the existence of the Japanese people. Bunraku is the result of blending the three art forms of puppetry, storytelling and music. Bunraku is Japan’s most popular puppetry for 300 years among adults. The Bunraku puppet can vary from 1/3-1/2 life-sized puppet that is lit up by a focused light and there are three puppeteers that operate just one puppet. The puppeteers are visible to the audience but they are dressed in black colors with their faces covered with hoods except the head puppeteer against a black background to make them look neutral, which gives a presence of a shadowy figure to the production, which adds a mystical power to the puppet. It can take a long time to master being a puppeteer. One has to begin by working by operating about 15 years on the feet, than another operating 15 years on the left hand, then finally they can operate the body and head. And on stage the three puppeteers work together in excellent harmony to make the doll come alive. “In the hands of a master puppeteer, these lifeless pieces of painted wood take on a magical life of their own. Puppeteer Yoshida Tamao is one of Japan's living national treasures. Still playing leading roles at age 82, he is the art's foremost practitioner. Playing anything from tragic warriors to feckless womanizers, he has performed more than 10,000 times over the course of his career. When Tamao's puppet enters, the stage is electrified with energy. The text of a Bunraku play is presented by a chanter, or tayu, and a shamisen player (a three string guitar but longer), who sit stage left. Chanter Takemoto Sumitayu, age 76, is also a living national treasure. His art gives timeless expression to the spiritual heart of the Japanese. Accompanied by a shamisen, he narrates
People usually expect to see paintings and sculptures in Art Galleries. Imagine the surprise one finds when they are presented with a man stitching his face into a bizarre caricature, or connected to a machine which controls the artist’s body. These shocking pieces of performance art come under the broad umbrella that is Postmodernism. Emphasis on meaning and shock value has replaced traditional skills and aesthetic values evident in the earlier Modernist movements.
In comparison to other slaves that are discussed over time, Olaudah Equiano truly does lead an ‘interesting’ life. While his time as a slave was very poor there are certainly other slaves that he mentions that received far more damaging treatment than he did. In turn this inspires him to fight for the abolishment of slavery. By pointing out both negative and positive events that occurred, the treatment he received from all of his masters, the impact that religion had on his life and how abolishing slavery could benefit the future of everyone as a whole; Equiano develops a compelling argument that does help aid the battle against slavery. For Olaudah Equiano’s life journey expressed an array of cruelties that came with living the life of an
In the history of civilization, there have been many different types of theatre. There is Greek theatre and Elizabethan theater. Some are musicals, some are comedies and some are tragedies. Some types employ realistic techniques while others are more avant-gardes. But one type stands out among the rest, and that is Kabuki theatre. This classical Japanese style of dance and drama is not just theatre. It is a beautiful form of art, which has been carefully crafted over many centuries.
things up; reaching greater mass. Thus, if anything spreads in social media, it’s a big news. It’s a medium where everyone is a content creator, a publisher. Social media comes first to rescue, in certain cases, before the law can do anything - or when the law has failed to anything. As much as this is true for present issues and incidents, the social media is also revealing the information about Komagata Maru journey, a historic racism incident. Some sources are showing reality of racism against the Indians in which some are writing and making their own views, some sources shows opposition and some shows favour.
Kabuki is the most surely understood of Japan's numerous theatrical styles. Known for the vivid cosmetics, ensembles, and stage style; the acting; the cadenced effortlessness of the on-screen characters' movements; and the unpredictable utilization of music and sound impacts, Kabuki has ended up mainstream with gatherings of people around the world. Kabuki is frequently considered as "the actor's theater" due to its weight on the promptness of execution and visual stagecraft as opposed to on discourse. However, there have been several notable Kabuki playwrights, including Chikamatsu Monzaemon, sometimes referred to as the “Shakespeare of Japan.” Since its root as a dance drama performed solely by ladies, Kabuki has experienced numerous progressions—banning
Maus is a graphic memoir by Art Spiegelman, about a father, Vladek, survivor of the Holocaust and a son, Arty, who wants to know what was it like living during the Holocaust era. During the holocaust years, Vladek was advised by a rabbi that his tattooed number will bring him luck. Throughout the story, he continues to personify the luck his number represents by being persistent and hardworking. Despite suffering starvation, thirst, and not feeling well, Vladek continues to remain humble by helping his fellow inmates. Many years passed after the war ended, Vladek was portrayed as this conservative man, but there was a reason behind that mask. Vladek did not want people to step over him like he was stepped on before; he wanted to teach Arty
In “The Fish” by Elizabeth Bishop, the narrator attempts to understand the relationship between humans and nature and finds herself concluding that they are intertwined due to humans’ underlying need to take away from nature, whether through the act of poetic imagination or through the exploitation and contamination of nature. Bishop’s view of nature changes from one where it is an unknown, mysterious, and fearful presence that is antagonistic, to one that characterizes nature as being resilient when faced against harm and often victimized by people. Mary Oliver’s poem also titled “The Fish” offers a response to Bishop’s idea that people are harming nature, by providing another reason as to why people are harming nature, which is due to how people are unable to view nature as something that exists and goes beyond the purpose of serving human needs and offers a different interpretation of the relationship between man and nature. Oliver believes that nature serves as subsidence for humans, both physically and spiritually. Unlike Bishop who finds peace through understanding her role in nature’s plight and acceptance at the merging between the natural and human worlds, Oliver finds that through the literal act of consuming nature can she obtain a form of empowerment that allows her to become one with nature.
Brazell, Karen. Traditional Japanese Theater: An Anthology of Plays. New York: Columbia UP, 1998. Print.
I believe that universally, theater is the concentration of passing down history, whether factual or mythical, to future generations paired with various degrees of artistic dignity. Like many other staged performances, the root of Noh is based off of a storytelling tradition, enhanced or exaggerated to be viewed by a wider audience. In the end, it was supposed to be somewhat entertaining, the viewer perhaps receiving a more dramatic interpretation of a past tale accompanied by dance, music, and visuals. In general, another characteristic not as significant from the original literatures and stories that seeps its way into Noh are the religious undertones and shrinking the distance between the world of the living and the world of spirits. In Zeami’s Atsumori, the play concerns characters from a scene in a probably already overdramatic depiction in Heike Monogatari, bringing in a single frame from Japanese military history into a different context. Sumidagawa has a slightly different way of coming into existence, since it does not depend so heavily on an exact picture from Ise Monogatari, and is only loosely associated with it. Nevertheless, both Atsumori and Sumidagawa have interesting ties to literature from earlier periods that make each unique in their presentation.
The Holocaust is portrayed in various ways to help others comprehend and appreciate the extreme atrocities that occurred. One such Holocaust portrayal is the Dachau concentration camp. The history of Dachau contains a beginning, middle, and end, much like stories today. The beginning: the establishment, the middle: the atrocities committed there, and the end: the liberation and freedom. However, the history of Dachau is much more than a story. It's a lesson for all humanity.
The name of the Bread and Puppet Theatre hails from the custom of sharing freshly baked bread with the theatre visitors to symbolise that art should be an everyday ritual for everyone just like eating bread.` We give you a piece of bread with the puppet show because our bread and theatre belong together. For a long time the theatre arts have been separated from the stomach. Theatre was entertainment.` (Peter Schumann, Bread & Puppet official website). The foremost goal of this theatre is to raise feelings of sensitivity in the viewer and to outline what the terms 'good' and 'evil' mean, especially in political spheres. This reflects the use of the audience as being used to create this form of emotion within the performanceset up, this is done through the raising the elements of sensitivity within their audience. Theatre also places a huge emphasis on the education and popularisation of art. Artists expressing their pacifistic views, strongly opposed to the war in Vietnam, and the enormous dolls created by Schumann have since become a permanent feature in many pacifistic demonstrations. Theatre critiques racial discrimination, deaf royal of natural habitats, compulsory military service and globalism. The theatre spectacles take the role of mentors who teach is lessons of morality - they are full of symbolism, archetypes and they refer to the bible, mythology and folklore.` ìWe believe in puppet theatre as a wholesome and powerful language that can touch men and women and children alike, and we hope that our plays are true and are saying what has to be said, and that they add to your enjoyment and enlightenment ` (Robert Schumann, Bread & Puppet Theatre official website). They focus on en...
Poetry is an artistic form that can be used in a variety of ways to depict and convey various emotions, using words to paint images in the minds of its readers. The writer carefully chooses their words to convey particular ideas or themes and are limited only by their vocabulary and, depending on the poetry form, the syllable count. The poets of the Manyoshu, a Japanese anthology of poetry, was written primarily using Chinese characters and used choka, a long poetic form that fell out of use, and tanka, which was much shorter. Within the Manyoshu there are two very important poets, Hitomaru and Okura, who differ greatly in their use of poetry, particularly in their themes, occasion of composition and the imagery used in their poems. Hitomaru
Another is the interesting set of images if found if the observer flips the painting over. Here in the left half of the painting there are two images, one of a puppet and an observer kneeling to view the show.
The first time I came across Wayang Kulit, its ghostly forms left a lasting impression on me. At a time when animation is exploring unparalleled new arenas of realism, it is amazing that these comparatively simple, silhouetted puppets were able to be so memorable. As I delved into my research on this subject matter, I found that this ancient Indonesian art form has transformed and been transformed by the various cultures it touches. At the same time, however, the decline in popularity of this art form among Indonesians has traditionalists worried. In a shrinking world, the threat of uniformity and the diminishing interest in cultural forms worries everyone. People are starting to move out of rural areas into city blocks, which in some urban areas are indistinguishable from those on the other side of the world. People watch the same TV shows, and read the same information online. Diverse belief systems are being replace with science. As cultures being to learn about each other, to learn to live together and to relate to one another, they also have the potential to sacrifice what makes them unique. So, where is the place for wayang in a world that is growing increasingly small?
Animations are a series of drawings, computer graphics, or photographs of objects, like puppets and models, which are different from each to create a variety of entertainment for the audiences. Animations are what brings excitement and mystery, hooking the audience in through interest. It is a form of some sort of “magic” where things that aren’t real but from the imagination comes to life in front of people who live these mundane, ordinary lives, adding color to the eyes and mind. The creators of such amazing arts and creation are animators.