Theatre in Southeast Asia

Brandon, James R.

doi:10.2307/j.ctvjz80hx

Cited by 6 publications

(6 citation statements)

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“…palace because women had to remain inside the palace (see Appendix B; Brandon, 1967). Because of this, Anneé feels that drag has been in Thai society for quite some time -just that the understanding of Western drag had yet to be adopted.…”

Section: Drag In Thailandmentioning

confidence: 99%

Phet: Thai Drag Artists’ Perspectives of Thai Sex, Gender, and Sexuality

Virakul

2023

J Stud Res

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Phet in Thailand is culturally, socially, and historically different from the Western notions of sex, gender, and sexuality. Because of this, the understandings, construction, and expression of one’s phet in Thailand should theoretically be different from the understandings, construction, and expression of one’s gender and sexuality in the West. Yet, through engaging in the art of drag, it may be possible that understandings of phet may have been shifted since Thai drag is heavily influenced by the West. Therefore, in this paper, I tested whether Thai drag artists’ understandings of phetwould be different from Western drag artists’ understandings of sex, gender, and sexuality through engaging in drag. Furthermore, I explored the understandings of an individual’s phet through one’s identity in and out of drag as well as through engaging in drag shows, both as a performer and as an audience, through conducting phenomenological research under the qualitative research method with the regular drag performers at the House of Heals bar, located in Bangkok, Thailand. Not only that, but I also explored the notion of drag as activism, drawing on current political events in Thai society, such as the ongoing #FreeYouth movement.

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Section: Drag In Thailandmentioning

confidence: 99%

Phet: Thai Drag Artists’ Perspectives of Thai Sex, Gender, and Sexuality

Virakul

2023

J Stud Res

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“…The shadow puppet figures are formed based on a side view and are made of cow or buffalo leather (Currell, 2015) The oldest form of wayang kulit originated in Java before the spread of Hindu influence (Rentse, 1936). However, there are several other views on the origin of wayang kulit; where Brandon (1979) states that wayang kulit originated from India and spread throughout Southeast Asia with Hindu influence in Malaya. This can be seen through the performance and storytelling style of Wayang Kulit Kelantan, which is greatly influenced by Indian culture, especially in terms of the Ramayana and Mahabharata stories (Osnes, 2010).…”

Section: Literature Reviewmentioning

confidence: 99%

Navigating the Storm: A Study of Impacts Covid-19 on Wayang Kulit Kelantan

RADZUAN,

NAI ABDUL RAHIM,

SUKRI

et al. 2023

ijcfh

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The Covid-19 pandemic hit the entire world at the onset of 2020, paralysing all community activities. The local government has restricted all social activities, including public gatherings, which has indirectly impacted local wayang kulit practitioners. This study examined the impacts of the Covid-19 pandemic on practitioners of wayang kulit in Kelantan and how they reacted and responded during the Covid-19. This study employs a qualitative approach with a focus on a case study. Ten respondents were interviewed, and non-participant observation was used to obtain data. All data were analysed thematically and triangulated with previous studies. Hence this study found two significant impacts of Covid-19 towards Wayang Kulit Kelantan, including local practitioners who are forced to postpone and cancel artistic activities and a lack of income generation among the practitioners. However, Wayang Kulit Kelantan survived by adapting to a new version of wayang kulit performances and the need to comply with government SOPs. In conclusion, this study is essential for wayang kulit practitioners and stakeholders in sustaining wayang kulit during the pandemic and in the future. Pandemik Covid-19 telah melanda seluruh dunia pada permulaan tahun 2020 dan melumpuhkan semua aktiviti masyarakat. Kerajaan tempatan telah menyekat semua aktiviti sosial termasuk perhimpunan awam yang memberi kesan kepada pengamal wayang kulit tempatan secara tidak langsung. Kajian ini dijalankan untuk mengkaji kesan wabak Covid-19 terhadap pengamal wayang kulit di Kelantan. Kajian ini menggunakan pendekatan kualitatif yang berfokuskan kepada kajian kes. Sepuluh orang responden telah ditemu bual, dan pemerhatian bukan ikut serta digunakan untuk mendapatkan data. Semua data dianalisis secara tematik dan ditriangulasi dengan kajian terdahulu. Justeru itu, kajian ini mendapati terdapat dua impak utama wabak Covid-19 terhadap Wayang Kulit Kelantan termasuklah pengamal tempatan terpaksa menangguhkan dan membatalkan aktiviti kesenian serta kekurangan penjanaan pendapatan dalam kalangan pengamal. Namun, Wayang Kulit Kelantan berjaya bertahan dengan mengadaptasi persembahan wayang kulit secara dalam talian, dan pematuhan SOP kerajaan. Kesimpulannya, kajian ini penting untuk pengamal dan pihak berkepentingan wayang kulit dalam mengekalkan wayang kulit semasa pandemik dan pada masa hadapan.

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“…Tujuannya dikatakan untuk menambah kilau pada wajah bagi menarik perhatian penonton (Edrus 1960). Namun begitu, elemen tradisi ini berkembang dengan kebangkitan spoken drama yang dikembangkan oleh teater dari Barat, serta teknologi televisyen (Brandon 1967;Rahmah 2016). Pendapat yang mengatakan bahawa bangsawan ialah campuran tradisi/ritual dan moden/Barat (Abdul Samat 2006; Tan 1989; Ghulam 1994) adalah berdasarkan perkembangan teater Parsi di India.…”

Section: Penyesuaian Elemen Ruang Lakon Dan Penontonanunclassified

Teater Tradisional Mendu dan Bangsawan di Asia Tenggara: Hubung Kait Sejarah dan Elemen Persembahan

Rosdeen Suboh

2023

wacanaseni

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This article was conducted due to the arising issues stating the connections between mendu or wayang mendu, and bangsawan but there is no further explanation regarding this matter. Moreover, there are statements from several scholar mention that the mendu or wayang mendu was the origin of bangsawan, but there is no detailed explanation. The data examined in this article involves: bangsawan performances that are still active in Kuala Lumpur, Kedah, and Sarawak which staged different stories; forms of bangsawan with different names in the coastal areas of West Sumatera and West Kalimantan, namely wayang (bangsawan) kampung, wayang Parsi, komedi Melayu, dul muluk and mamanda; while the mendu theatre which only staged Dewa Mendu story performed by respective active groups in Pulau Sedanau, Natuna (Riau Islands), Mempawah (Pontianak, West Kalimantan), and Malaysia (Universiti Malaya, Kuala Lumpur). All data collection was also obtained from interviews with mendu and bangsawan practitioners who are still active in both countries. From the data collected, this article only focusses on the connection between the historiography of mendu–bangsawan with the influence of Persian commercial theatre from Gujarat, especially in the period from 1870 to 1940. This is because, during that period, the bangsawan name was initially called wayang Parsi (mendu), tiruan wayang Parsi, and later became the main reference in the history of the development of traditional theatre in Southeast Asia. The results of the discussion in this article are divided into several important aspects which are: the relevance of historical aspects particularly the origin and development; conceptual elements (rituals and entertainment); language (dialogue); stage setting (acting space and curtain set); acting style (actors); and performance structure (scenes) of both theatres. Artikel ini membincangkan tentang isu perkaitan sejarah dan elemen persembahan antara teater tradisional mendu dan teater bangsawan Malaysia–Indonesia. Hal ini kerana terdapat penyataan dari beberapa kajian sarjana menyatakan bahawa teater mendu atau wayang mendu adalah asal mula bangsawan, namun tiada keterangan secara terperinci. Bagi tujuan tersebut, data yang diteliti dalam artikel adalah melibatkan: persembahan bangsawan yang masih aktif di Kuala Lumpur, Kedah, dan Sarawak yang telah mementaskan cerita yang berlainan; dan juga bentuk bangsawan dengan nama lain yang masih aktif di kawasan pesisiran Sumatera Barat serta pesisiran Kalimantan Barat iaitu wayang (bangsawan) kampung, wayang Parsi, komedi Melayu, dul muluk, dan mamanda; manakala teater mendu pula hanya mengambil data dari kumpulan yang masih aktif mementaskan satu-satunya cerita Dewa Mendu di Pulau Sedanau, Natuna (Kepulauan Riau), Mempawah (Pontianak, Kalimantan Barat), dan Malaysia (Universiti Malaya, Kuala Lumpur). Pengumpulan data juga diperoleh melalui temu ramah tokoh-tokoh mendu dan bangsawan yang masih aktif di kedua-dua negara. Dari data yang dikumpul, fokus penelitian hanya dibuat ke atas perkaitan pensejarahan mendu bangsawan dengan pengaruh teater komersial Parsi seperti dari Gujerat terutama pada tahun 1870 hingga 1940. Hal ini kerana, pada tempoh tersebut nama bangsawan awalnya telah digelar wayang Parsi (mendu), tiruan wayang Parsi, dan kemudian telah menjadi sebuah bentuk teater rakyat kaum Melayu yang menjadi rujukan utama dalam sejarah perkembangan teater tradisional di Asia Tenggara. Hasil dari perbincangan dalam artikel ini terbahagi kepada beberapa aspek penting iaitu: hubung kait mendu–bangsawan dari aspek pensejarahan seperti fakta asal-usul dan perkembangan; perkaitan elemen konsep (ritual dan hiburan); bahasa (dialog); panggung (ruang lakon dan set tirai); gaya lakon (pelakon); dan struktur persembahan (babak).

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Theatre in Southeast Asia

Cited by 6 publications

References 0 publications

Phet: Thai Drag Artists’ Perspectives of Thai Sex, Gender, and Sexuality

Phet: Thai Drag Artists’ Perspectives of Thai Sex, Gender, and Sexuality

Navigating the Storm: A Study of Impacts Covid-19 on Wayang Kulit Kelantan

Teater Tradisional Mendu dan Bangsawan di Asia Tenggara: Hubung Kait Sejarah dan Elemen Persembahan

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