Wayang shadow theatre In Bali Part 7

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

Table. Wayang Kulit

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.