The three organic components are always interactive
and never independent of one another in bringing about harmony. Since a dalang
must be able to present something new or fresh in every show, he always needs
to modify one or more elements. Within each form of Wayang are clear parameters
within which the creativity takes place. These are
identified in
This pattern of balance between the three elements –
genre, story, character – is similar in most forms of performance in Balinese
tradition, but especially acute in Wayang. This balance is a starting point for
understanding what is in the mind of the dalang in preparation for and, in many
ways, during a performance. In order to comprehend the extent of detail
involved in this artistic juggling act, a fuller explanation of what the dalang
understands about each element is useful.
By genre or form the aspects involved in the
performance are the general apparatus (stage, scenery and properties), the
artists, the performance structure and the musical accompaniment. Typically, a
partly open pavilion or a hall is temporarily transformed into a booth about
three metres wide by four metres long. A Wayang performance always needs this
simple booth to hold the white screen on which the shadow puppets are projected
by the oil lamp (blencong). The screen becomes the sole stage for a Wayang
show. The dalang defines the performance area on the screen by placing the
largest puppet Butha Siu or Wisnumurti at the right edge of the screen and
Butha Sia or Ludramurti at the left edge. The brightness of the lighting is
occasionally dimmed by klopekan gadebong ‘a piece of banana log’ in order to
create a special effect for dramatic scenes, or to alter the mood or emotion of
the scene. Typically the dalang’s two assistants, katengkong, work closely with
the dalang. In order to expedite his specific theatrical techniques, a dalang
may prefer to keep his own assistants rather than musicians. In other words, to
perform with musicians with whom he is not familiar is better than to perform
with new assistants. Most Wayang types – Wayang Ramayana, Gambuh, Cupak, Arja,
Calonarang and Babad – employ about a dozen musicians. However, Wayang Parwa
requires only four musicians. In the northern part of Bali, only two musicians
are required.
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