A Book of Marionettes

by Helen Haiman Joseph

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The shadows of the Siamese Nang are also unusual. This is a representation of certain scenes from the Indian epic, Ramayana, and depicts the adventures of Prince Rama and his wife Sita. It is given in private homes for special festivals and is of a serious, poetic nature. As described by a native of Siam, “It is a show of moving, transparent pictures over a screen illumined by a strong bonfire behind.” It is recited by two readers and sometimes requires as many as twenty operators. The figures more nearly approach the human form than do those of the Javanese shadows, but their queer, pointed headdress and strange costuming produce a very striking and highly stylized effect. They are made of hide which has been previously cut, scraped and stretched with extreme care. The technique of decorating the figures is most difficult, for the forms are stenciled and perforated by an infinite number of pricks, to indicate not only the outlines but also the nature of the fabric of garments, the jewels, weapons, etc. These perforations scarcely show unless held before a light, when they give a very rich and variegated effect. There is great art as well in the dyeing and fixing of the colors, and in estimating the amount of light which should be allowed to penetrate so as to give a well-proportioned aspect to the figure as a whole. In Siam as in Java there are to be found ordinary dramatic performances by wooden puppets more recent in origin and not unlike those of Burma.

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These puppet theatres of Burma exhibit a peculiar combination of fantastic legend and grotesque, realistic humor. The puppet stage of the country seems to have been more highly developed than its regular drama. A visiting company of Burmese marionettes was displayed at the Folies Bergères in Paris, where they were much admired for their beautiful costumes, wonderful technical construction, the natural poses they assumed and the graceful gestures they made. Mr. J. Arthur MacLean tells of the annual celebration which he witnessed a few years ago at Ananda, the famous old Buddhist site. It consisted of a performance by the temple puppets which began early in the evening and lasted all the night through. The marionettes were the property of the temple and when not in use were stored away there. They were large and elaborate and manipulated with strings. The audience comprised the entire population of the village; every man and woman was present and they had brought all of their children. The first part of the show was comical for the sake of the children who, we may presume, fell asleep as the night progressed. The plays which followed became more and more serious and were of a religious nature. Some Burmese puppets, however, are very primitive, being painted wooden dolls, odd and humorous in spirit. The license of the showman is extreme, but does not seem to offend the taste of the native audience.

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In Turkestan and in Central Asia puppet shows are a very popular diversion along with the feats of jugglers and dancers. There are two types of puppets existing, one the very diminutive dolls carried about by ambulant players whose extremely naïve dialogue is composed chiefly for the amusement of children. The other, on a larger scale, is to be seen on small stages erected in coffee houses or at weddings and other private celebrations.

Burmese Puppets

Upper: Made of rag, cotton and plaster
Lower: Made of painted wood

[American Museum of Natural History, New York]