In her study of Chinese shadow theatre Fan-Pen Li Chen documents and corrects misconceptions about this once-popular art form. She argues how a traditional folk theatre reflected and subverted Chinese popular culture.
Shadow Play examines how members of the urban underclass in Indonesia seek to negotiate their rights to urban space in a country undergoing significant social, political, and economic change.
This handbook aims mainly at an analytical documentation of all the known textual remnants and the preserved artifacts of Arabic shadow theatre, a long-lived, and still living, tradition — from the earliest sightings in the tenth century to the turn of the twentieth century. The book consists of three main parts and a cluster of appendixes. Part One presents a history of Arab shadow theatre through a survey of medieval and premodern accounts and modern scholarship on the subject. Part Two takes stock of primary sources (manuscripts), published studies, and the current knowledge of various aspects of Arabic shadow theatre: language, style, terminology, and performance. Part Three offers an inventory of all known Arabic shadow plays. The documentation is based on manuscripts (largely unpublished), printed texts (scripts, excerpts), academic studies (in Arabic and Western languages), journalist reportage, and shadow play artifacts from collections worldwide.
A timely look at the impact of China's booming emergence on the countries of Southeast Asia Today, Southeast Asia stands uniquely exposed to the waxing power of the new China. Three of its nations border China and five are directly impacted by its claims over the South China Sea. All dwell in the lengthening shadow of its influence: economic, political, military, and cultural. As China seeks to restore its former status as Asia's preeminent power, the countries of Southeast Asia face an increasingly stark choice: flourish within Beijing's orbit or languish outside of it. Meanwhile, as rival powers including the United States take concerted action to curb Chinese ambitions, the region has emerged as an arena of heated strategic competition. Drawing on more than a decade of on-the-ground experience, Sebastian Strangio explores the impacts of China's rise on Southeast Asia, the varied ways in which the countries of the region are responding, and what it might mean for the future balance of power in the Indo-Pacific.
Kansas-born Pauline Benton (1898-1974) was encouraged by her father, one of America's earliest feminist male educators, to reach for the stars. Instead, she reached for shadows. In 1920s Beijing, she discovered shadow theatre (piyingxi), a performance art where translucent painted puppets are manipulated by highly trained masters to cast coloured shadows against an illuminated screen. Finding that this thousand-year-old forerunner of motion pictures was declining in China, Benton believed she could save the tradition by taking it to America. Mastering the male-dominated art form in China, Benton enchanted audiences eager for the exotic in Depression-era America. Her touring company, Red Gate Shadow Theatre, was lauded by theatre and art critics and even performed at Franklin Roosevelt's White House. Grant Hayter-Menzies traces Benton's performance history and her efforts to preserve shadow theatre as a global cultural treasure by drawing on her unpublished writings, the recollections of her colleagues, the testimonies of shadow masters who survived China's Cultural Revolution, as well as young innovators who have carried on Benton's pioneering work.
As with many performing arts in Asia, neither the highly stylized images of the Javanese shadow play nor its musical complexity detracts from its wide popularity. By a context-sensitive analysis of shadow-play performances, Ward Keeler shows that they fascinate so many people in Java because they dramatize consistent Javanese concerns about potency, status, and speech. Originally published in 1987. The Princeton Legacy Library uses the latest print-on-demand technology to again make available previously out-of-print books from the distinguished backlist of Princeton University Press. These editions preserve the original texts of these important books while presenting them in durable paperback and hardcover editions. The goal of the Princeton Legacy Library is to vastly increase access to the rich scholarly heritage found in the thousands of books published by Princeton University Press since its founding in 1905.
This comprehensive book explores the Malaysian form of shadow puppet theatre, highlighting its unique nature within the context of Southeast Asian and Asian shadow puppet theatre traditions. Intended for a Western audience not familiar with Asian performance and practices, the text serves as a bridge to this highly imaginative form. An in-depth examination of the Malaysian puppet tradition is provided, as well as performance scripts, designs for puppet characters, instructions for creating a shadow screen, and easy directions for performance. Another section then considers the practical, pedagogical, and ethical issues that arise in the teaching of this art.
For the first time ever, a tale from the Persian Book of Kings springs to life in this stunningly produced and ingeniously crafted pop up book. Zahhak: The Legend of the Serpent King retells the myth of the misguided Prince Zahhak who is easily swayed by the devil to murder his father and usurp the thrown. Cursed with monstrous snakes that grow out of the king's shoulders, the Serpent King grows infamous throughout the land for his treachery and oppression. He rules for one thousand years before a noble and valiant Feraydun gains the strength and army to defeat the unjust King. The fantastic world of Zahhak: The Legend of the Serpent King literally pops off the page with intricately crafted spreads, two pop-up folds per page, and complex construction that will delight readers young and old with every turn of the page.