Wayang wong | EPFL Graph Search

Êtes-vous un étudiant de l'EPFL à la recherche d'un projet de semestre?

Travaillez avec nous sur des projets en science des données et en visualisation, et déployez votre projet sous forme d'application sur GraphSearch.

Découvrez-en plus sur les applications Graph.

Wayang wong (ꦮꦪꦁꦮꦺꦴꦁ), also known as wayang orang (literally "human wayang"), is a type of classical Javanese and Balinese dance theatrical performance with themes taken from episodes of the Ramayāna or Mahabharāta. Performances are stylised, reflecting Javanese court culture: Wayang wong dance drama in the central Javanese Kraton (royal court) of Yogyakarta represents the epitome of Javanese aesthetic unity. It is total theatre involving dance, drama, music, visual arts, language, and literature. A highly cultured sense of formality permeates every aspect of its presentation. Despite being closely associated with Javanese and Balinese tradition, variants of wayang wong dance drama can also be found in neighboring Javanese ethnic traditions, including Sundanese tradition. The bas relief panels on the ninth-century Prambanan temple show episodes of the Ramayana epic. The adaptation of Mahabharata episodes has been integrated in the Javanese literature tradition since the Kahuripan and Kediri era, with notable examples such as Arjunawiwaha, composed by Mpu Kanwa in the 11th century. The Penataran temple in East Java depicts themes from the Ramayana and Mahabharata in its bas reliefs. The Javanese dance drama associated with wayangs epic themes from the Ramayana and Mahabharata would have existed by then. Wayang in Kawi (Old Javanese) means "shadow" and wong means "human". Wayang wang was a performance in the style of wayang kulit (the shadow theatre of Central Java) wherein actors and actresses took the puppets' roles. The first written reference to the form is on the stone inscription Wimalarama from East Java dated 930 CE. The genre is currently done in masked and unmasked variations in Central Java, Bali, and Cirebon, as well as in Sunda (West Java). Wayang wong is closely associated with Javanese culture. Originally, it was performed only as an aristocratic entertainment in four palaces of Yogyakarta, Pakualaman, Surakarta and Mangkunegaran. In the course of time, it spread to become a popular and folk form as well.

À propos de ce résultat

Cette page est générée automatiquement et peut contenir des informations qui ne sont pas correctes, complètes, à jour ou pertinentes par rapport à votre recherche. Il en va de même pour toutes les autres pages de ce site. Veillez à vérifier les informations auprès des sources officielles de l'EPFL.

Concepts associés (17)

Balinese dance

Balinese dance (Tarian Bali; ᬇᬕᬾᬮᬦ᭄ᬩᬮᬶ) is an ancient dance tradition that is part of the religious and artistic expression among the Balinese people of Bali island, Indonesia. Balinese dance is dynamic, angular and intensely expressive. Balinese dancers express the stories of dance-drama through the bodily gestures including gestures of fingers, hands, head and eyes. There is a great richness of dance forms and styles in Bali; and particularly notable are those ritualistic dance dramas which involve Rangda, the witch, and the great beast Barong.

Javanese dance

Javanese dance (Tarian Jawa; ꧋ꦠꦫꦶꦗꦮ) is the dances and art forms that were created and influenced by Javanese culture in Indonesia. Javanese dance movement is controlled, deliberate and refined. Javanese art often displays a finesse, and at the same time a serene composure which is elevated far above everything mundane. Javanese dance is usually associated with courtly, refined and sophisticated culture of the Javanese kratons, such as the bedhaya and srimpi dance.

Wayang kulit

Wayang kulit (ꦮꦪꦁꦏꦸꦭꦶꦠ꧀) is a traditional form of puppet-shadow play originally found in the cultures of Java and Bali in Indonesia. In a wayang kulit performance, the puppet figures are rear-projected on a taut linen screen with a coconut-oil (or electric) light. The dalang (shadow artist) manipulates carved leather figures between the lamp and the screen to bring the shadows to life. The narratives of wayang kulit often have to do with the major theme of good vs. evil.