[ 馬 來 西 亞 ]
- Malaysia -

Malaysia shares land and maritime borders with multiple Southeast Asian countries; therefore, Malay, Chinese and Indian cultural influences are often seen in everyday life. Its arts also incorporate diverse cultural traditions, so does puppet theatre. The most commonly seen traditional puppetry is wayang kulit, shadow theatre influenced by eighteenth-century Javanese and Siamese cultures. Wayang kulit can further be divided into four categories: wayang kelantan (also known as wayang siam), wayang gedek, wayang purwa and wayang melayu. Among the four, wayang kelantan is the most renowned which has its center in Kelantan in northern Malaysia and neighboring Thailand. Wayang kelantan originated in southern Thailand, and was later brought to Cambodia and Malaysia. The plays are mostly adapted from Indian epics to local languages. For instance, the Indian epic, Ramayana, is known as Hikayat Sri Rama in Malaysia, and is performed in Malay and the dialect of Kelantan.

Similar to Javanese tradition in Indonesia, master puppeteers are also called dalang in Malaysia. Hamzah bin Awang Amat (1940-2001) was the most famous dalang in Malaysia, and had immense contributions to the development of local shadow theatre. He inherited the puppeteering techniques, narrations, musical techniques and other traditional skills, while reforming and innovating traditional shadow theatres for contemporary audiences. Hamzah bin Awang Amat was also dedicated to passing on this cultural tradition, and had been cultivating talents, as well as cultural scholars and educators.

Besides wayang kelantan, the performance form, movements and languages of wayang gedek are deeply influenced by Thai cultures. Wayang gedek has its center in Kedah of northeastern Malaysia. Wayang purwa and wayang melayu are continuations of Javanese culture. The former is commonly seen in Johor of southeastern Malaysia, and the latter in Kelantan and Terengganu. Both have plays adapted from Indian epics Ramayana and Mahabharata, or Javanese folk stories.

馬來西亞國土與多個東南亞國家比鄰,因此生活中除了普遍可見的馬來、中國和印度文化,在藝術方面也結合不同文化傳統的特色,對偶戲發展而言也是如此,而最常見的傳統偶戲為受十八世紀爪哇和暹羅文化影響的皮影戲 wayang kulit,而其中又可分為主要四種類型:wayang kelantan(或稱 wayang siam)、wayang gedekwayang purwawayang melayu。當中最廣為人知的是 wayang kelantan,發展中心位於馬來西亞北部、與泰國相鄰的吉蘭丹(Kelantan)。Wayang kelantan 起源於泰國南部,後傳播到柬埔寨和馬來西亞,演出節目都是以印度敘事史詩為素材,經改編後以當地語言詮釋。例如,印度史詩《羅摩衍那》在馬來西亞稱為《羅摩王子的故事》( Hikayat Seri Rama),演出使用的語言包含馬來文和吉蘭丹方言。

與印尼爪哇相同,馬來西亞亦稱操偶大師為達郎(dalang)。漢扎・阿旺・阿末(Hamzah bin Awang Amat 1940-2001)是馬來西亞著名的達郎,對於當地皮影戲的發展有著極大的貢獻。他傳承了操偶、口白及樂器演奏法等傳統技巧,同時為了當代觀眾對改良和創新皮影戲演出。此外,漢扎・阿旺・阿末致力於傳承此文化傳統,並持續培育表演人材和教育文化研究者。

除了 wayang kelantan 之外的皮影戲,wayang gedek 的表演形式、動作和語言受泰國文化影響極深,主要發展地區為馬來西亞東北部的吉打。此外,wayang purwa 和 wayang melayu 則是爪哇文化的延續,前者常見於東南方的柔佛,後者主要出現在吉蘭丹和登嘉樓,兩種皮影戲形式的劇目多改編自印度史詩《羅摩衍那》、《摩訶婆羅多》或爪哇的民間故事。

參考資料 Reference

Matusky, Patricia Ann. Malaysian Shadow Play and Music. Continuity of an Oral Tradition. Oxford Univ. Press, 1993.

World Encyclopedia of Puppet Arts - Malaysia. https://wepa.unima.org/en/malaysia/.

Yousof, Ghulam-Sarwar. The Malay Shadow Play: An Introduction. The Asian Centre, 1997.