Performance
Modern water puppetry is performed in a pool of water 4 meters square with the water surface being the stage. Performance today occurs on one of three venues—on traditional ponds in villages where a staging area has been set up, on portable tanks built for traveling performers, or in a specialized building where a pool stage has been constructed.
Up to 8 puppeteers stand behind a split-bamboo screen, decorated to resemble a temple facade, and control the puppets using long bamboo rods and string mechanism hidden beneath the water surface. The puppets are carved out of wood and often weigh up to 15 kg.
A traditional Vietnamese orchestra provides background music accompaniment. The instrumentation includes vocals, drums, wooden bells, cymbals, horns, Đàn bầu (monochord), gongs, and bamboo flutes. The bamboo flute's clear, simple notes may accompany royalty while the drums and cymbals may loudly announce a fire-breathing dragon's entrance.
Singers of chèo (a form of opera originating in north Vietnam) sing songs which tell the story being acted out by the puppets. The musicians and the puppets interact during performance; the musicians may yell a word of warning to a puppet in danger or a word of encouragement to a puppet in need.
The puppets enter from either side of the stage, or emerge from the murky depths of the water.
Spotlights and colorful flags adorn the stage and create a festive atmosphere.
Read more about this topic: Water Puppetry
Famous quotes containing the word performance:
“They say all lovers swear more performance than they are able, and yet reserve an ability that they never perform; vowing more than the perfection of ten, and discharging less than the tenth part of one.”
—William Shakespeare (15641616)
“Just as the performance of the vilest and most wicked deeds requires spirit and talent, so even the greatest demand a certain insensitivity which under other circumstances we would call stupidity.”
—G.C. (Georg Christoph)
“The audience is the most revered member of the theater. Without an audience there is no theater. Every technique learned by the actor, every curtain, every flat on the stage, every careful analysis by the director, every coordinated scene, is for the enjoyment of the audience. They are our guests, our evaluators, and the last spoke in the wheel which can then begin to roll. They make the performance meaningful.”
—Viola Spolin (b. 1911)