[ 緬 甸 ]
- Myanmar -

Myanmar is a multiethnic nation neighboring India, Thailand, and Laos. It is a typical Buddhist country, and religion has an immense impact on social, cultural and artistic aspects of the nation.

The most renowned form of puppet theatre in Myanmar is string puppetry which first appeared during the Inwa period. Shin Maha Rahta Thara, a Buddhist monk, described in a poem a thing that appeared on top of the tree, hid behind the leaves, had different shapes, climbed up and down along the trunk, and was like “a dancing object controlled by strings.” Many believe that the object mentioned in the poem is a string puppet. Puppetry is often seen in foreign missioners’ and colonizers’ records after the eighteenth century.

The earliest dance tradition in Myanmar was performed by human dancers, and the earliest dramatic tradition was puppet theatre. The reason is that most theatrical performances were associated with religion, and puppetry helped avoid the desecration of humans playing the role of the god. Therefore, it is commonly believed that puppetry is the origin of Myanmar drama. Additionally, in some of the records documenting the time when Gautama Buddha was alive, there were already descriptions of string puppetry. The string puppet shows are also mostly about the birth of Buddha and Mahabharata. Hence, the development of puppetry in Myanmar is closely connected to Indian Buddhist culture.

Supported by the emperors, string puppetry had already been performed both in the courts and for the local public in the nineteenth century. There were even theatre auditoriums dedicated to string puppetry. Later when the British colonizers arrived, the planning and construction of railways further brought string puppet shows to different corners of Myanmar’s cities and countryside. After the Second World War, the government had been reviving and supporting the development of puppetry; however, traditional string puppetry gradually vanished in the 1990s as a result of the changing society. In 1993, the National University of Arts and Culture, Yangon made string puppetry a required course for students in drama, and has been collaborating with other government institutions and professional puppet troupes to preserve and pass on this traditional art.

緬甸由多個種族所組成,與印度、泰國、寮國等國家相鄰,也是典型的佛教國家,宗教影響社會文化藝術甚鉅。

緬甸最著名的偶戲形式為懸絲傀儡戲,最早出現在緬甸阿瓦時期(Inwa 1364-1516),和尚 Shin Maha Rahta Thara 在 1484 年所寫的詩中曾描述,有東西出現在樹梢上、躲藏在樹葉後,有著各種形狀,並沿著樹幹爬上爬下,像極了「以線操控而舞蹈的物體」。許多人認為,這首詩提及的物體即是懸絲傀儡。十八世紀後,在外國傳教士和殖民者的文獻當中,也經常出現關於偶戲的記敘。

緬甸最初的舞蹈是由真人舞者演出,而最早的戲劇則是偶戲表演,原因在於戲劇演出的內容大多與宗教相關,禁止以真人扮演以免對神不敬,這也是為什麼大部份人認為偶戲為緬甸戲劇起源。此外,在一些釋迦摩尼在世時的佛教文獻當中,已可看到類似懸絲傀儡戲的描述,而緬甸偶戲的演出劇目也多為佛本生故事和《摩訶婆羅多》,由此可見,緬甸的傀儡戲發展與印度佛教文化有著極大的關聯。

因為歷代君主的支持,十九世紀已經有整本大套的偶戲從宮廷演到民間,更有懸絲傀儡劇專屬的演出劇院建立。隨後英國殖民統治時期,鐵路的規劃和建設更將傀儡劇帶至緬甸各個鄉村和城市,直到二十世紀初,西方戲劇漸吸引觀眾目光,傳統戲劇也面臨了衝擊。二次世界大戰後,政府極力復興、扶植偶戲發展,然而傳統懸絲傀儡戲還是不敵時代進化,在 1990 年代逐漸凋零。1993 年時,仰光國立文化藝術大學將懸絲傀儡戲列為戲劇系學生必修課程,並和其他政府機構,以及專業偶戲團合作,努力傳承這個擁有長久歷史的傳統藝術。

參考資料 Reference

Dway, Ye. Marionettes of Myanmar. Sarpay Beikman, 2013.

Qu, Chan. “Puppets of MyanmarNeocha – Culture & Creativity in Asia.” Neocha - Culture Creativity in Asia, neocha.com/magazine/puppets-of-myanmar/.

World Encyclopedia of Puppet Arts - Myanmar. https://wepa.unima.org/en/myanmar/