The subject of Burmese ‘Pwe’ theater in general and Burmese ‘Yoke-Thay Pwe’ puppet theater in particular is definitely very interesting but also very complex. Therefore, it is difficult to sufficiently treat it in the form of an article. After all, entire books with hundreds of pages have been written on this subject. OK so; I try to do the best I can and please let me know if I have succeeded.
In his ‘Brandon’s Guide to Theater in Asia’, first published in January 1967, James A. Brandon wrote: “The description of the Burmese as a happy, smiling person is born on stage more often than one would think possible. “And that is very true.
Theatre, ‘Pwe’ has a tradition in Burma that goes back many centuries. Although today the public, especially urban but also rural, is increasingly directing their attention towards more modern and easier to consume forms of entertainment such as television, cinema, videos and video games, etc. pwe (theatre) is still very much alive except unfortunately for one form of pwe. But that is anticipation.
There are various types of theater here in Burma. Perhaps the most popular is a mix of dance, music and theater called ‘Zat Pwe’. Zat pwe is often preceded by a theatrical form of pwe, called ‘Pya Zat’; here a heroic prince must overcome the evils of demons and sorcerers.
Another form of pwe relates to episodes from everyday life and is called ‘Anyein Pwe’. A pure dance theater performed by both principal dancers and groups is the ‘Yein Pwe’.
Rarely seen by foreign visitors/tourists as it is performed publicly only in the framework of animist festivals (Mt. Popa, Taungbyon, Magwe, Bago) and otherwise only at private ‘Nat Parties’ is the ‘Nat Pwe’ . This is an animist event where a Nat Kadaw functions as a medium between nats (spirits) and people who believe in supernatural beings and their powers and communicate with the respective nat through the medium. This, by the way, is why nat pwes are celebrated. U Min Kyaw, also known by the names of Ko Gyi Kyaw or Min Kyawzwa, is arguably the most beloved nat. U Min Kyaw is the guardian of drunkards and gamblers and being with him means having a good time. But the biggest reason people like it is that it bestows wealth on everyone who believes in it.
An exception to all the different types of pwe is a form of this art that is said to have its origins in India but has evolved over time into a uniquely Burmese form of theatre: this is the ‘Yoke-Thay Pwe’. or ‘Marionette’. Theater’.
Historians are not of one opinion as at the time marionettes/string puppets made their first appearance in Burma. According to one opinion, they were first mentioned in a poem written by Rattasara, a Buddhist novice monk in the 15th century. Others say that the yugo-thay pwe has its basis in the time after the return of King Hsinbyushin to Ava after the conquest of the Thai capital Ayutthaya in 1767 AD.
Be that as it may, it is indisputable that King Hsinbyushin’s son, Singu Min (usurper to the throne), who succeeded him, inaugurated a ‘Ministry of Fine Arts’ at his court in 1776. He appointed ‘Minister of Royal Entertainment’, U Thaw Win , who was now entrusted with the development of a new form of pwe art.
It is important to know and keep in mind that in the history of Burma and not a little even today the rules of etiquette and moral conduct did not allow the public display of intimate romantic scenes and that portraying the future Buddha in the ‘Jataka’ tales was considered a sacrilege. For this reason, the actors refused to play this role. These things posed real problems and the solutions to these were puppets or puppets. What human beings were not allowed and/or did not want to do in public, wooden figures could do; the ‘Yoke-Thay Pwe’ was born.
Not indisputable, but widely accepted, is that by setting strict guiding principles and rules, Minister Thaw Win regulated and standardized the yoke-thay pwe more than any other type of pwe. From the sets to the puppets and their clothing, everything was standardized.
A yoke-thay pwe stage called ‘chauk khan sin’ in Burmese is to be 30 feet/9 meters wide and made of lightweight teak and bamboo. The background scene on which the stories are played and told must always be the same: a primeval forest on the right, a throne on the left, and a sofa or divan in the center. According to the guidelines, puppets are divided into ‘yoke-kyi-sin’, the large puppets (2.5 to 3 feet/0.75 to 0.9 meters in height) and ‘yoke-thay-sin’, the puppets small, subsequently, up to 2.5 feet/0.75 meters.
All thay pwe yoke troupes were required to register and the number of string puppets, as well as their physical parts, was determined to be 28. This number is derived from the traditional Buddhist belief that each and every organism comprises 28 parts physical.
The art of puppeteering not only requires learning over many, many years under the close supervision of a puppeteer, but also no small degree of talent because a single puppeteer must handle 28 separate string puppets/marionettes. Some of these have up to 60 strings attached to them to perform the different gestures and dances. However, most puppets require mastering an average of only (!) 20 strings. The puppeteer also presents the dialogue of the puppets simultaneously supported only by two stage assistants.
Each of the 28 puppets is derived from and represents a mythical being or historical figure. These are usually:
a) a king (Bayin), b) a prince (Mintha), c) a princess (Minthamee), d) four ministers. Two with red faces, two with white faces (Wun-Gyi-Lay-Pa), e) a Brahman (Ponna), f) a hermit (Yat-Hay), g) an old woman (Ah-May-Oh), h ) a clown assistant (Daw Mo), I) a clown assistant (U Shway Yoe), j) an alchemist (Zar Gyi), k) two demons/ogres. One with a green face, one with a red face (Balu), l) a spirit (Nat), m) a serpent (Naga), n) a horse (Myin), o) a white elephant (Sin-Phyu), p) a black elephant (Sin-Net), q) a tiger (Kyar), r) a parrot (Kyet-To-Wyay), s) a monkey (Myuak), t) a spirit medium (Nat Kadaw), u) a ‘Maid of Honor’ (Ah-Pyo-Daw), v) two older princes. One with a white face, one with a red face (Min-Tha-Gyis), w) a Brahman (Byanmar).
An additional and very important figure not so much for the play as for the puppeteer is x) the guardian spirit of the puppeteers (Lamaing-Shin-Ma).
There are also other figures such as the guardian spirit of the trees (Nyaung-gyin) also known as ‘Old Man of the Banyan Tree’ and the page boy (Thu-Nge-Daw).
The costumes for all these figures are also clearly specified and must be identical to the original.
The main figures are always Minthamee and Mintha, around whom the romantic plot always revolves.
Maximum attention in yoke-thay-pwe is paid to the orchestra and the vocalist, as they are of vital importance to her.
a) double-headed drums (Pat-Waing), which are played by the leader, b) a variety of brass gongs (kyi-waing), c) a triangular gong (kyi-se), d) a circular gong large ( moung), e) six drums with two different heads (hauk-lon-pat), f) one large drum with two heads (pat-ma-gyi).
Also part of the orchestra g) a flute or kind of oboe (hne).
The order of the various scenes is also determined and the stories performed, especially the ‘Ramayana’ and ‘Jataka’ tales, are usually the same and generally well known. The Ramayana tells the eventful story of the capture of the beautiful princess ‘Sita’ by the demon king ‘Dasagiri’ and her rescue by her heroic husband, prince ‘Rama’. The Jataka is related in an almost historical moral way to overcoming Gautama Buddha’s various sins in order to gain the ultimate rebirth and enlightenment from him.
The song that opens most yoke-thay-pwe performances has been hugely popular in Burma for generations and always heralds the appearance of the much-loved ‘Maid of Honour’, ‘Ma Shat Tay’. She says like this:
“Ahpya daw Ma shat tay hwet khat bar daw lay, Saing saya Ma Aye pay tee lite by daw lay.”
“Bridesmaid, Ma Shat Tay (Clumsy Maid), please come out and dance. Master of the Orchestra (Master Ruffin), please play the music.”
Unfortunately, the yoke-thay pwe which was once given a higher status than any other form of pwe and ruled the Burmese theater world without dispute is slowly but surely disappearing. This is partly due to the demise of the older generation of puppeteers, a loss that is unfortunately not made up for by the appearance of a sufficient number of new masters, and partly because traditional performances of yoke-thay pwe last for almost a lifetime. whole night. therefore, they are very demanding for both the puppeteers and the audience. But there is no substitute for this wonderful art of highly entertaining theater and something must be done to prevent its extinction.
Two of the few people in Burma (Myanmar) who do their best to keep the art of yok-thay pwe alive, both nationally and internationally in cooperation with UNESCO, are the puppeteers Ma Ma Naing and her husband from the ‘ Mandalay Marionettes Theatre’ in Mandalay, located on 66th Street between 26th Street and 27th Street (just around the corner from Mandalay Swan Hotel and Sedona Hotel), where the best yoke-thay pwe performances take place every night .
The theater was founded by two ladies in 1986 and the company began its career by performing for tourists visiting Burma.
The two founders were Ma Ma Naing, daughter of U Thein Naing, the writer of Burmese Puppet Theater (1966), and Naing Ye Mar. The company is supervised by Dr. Tin Maung Kyi, a Burmese puppet researcher, U Pan Aye and U Shwe Nan Tin, highly respected and highly skilled puppeteers. The company has won several national awards and has performed in several foreign countries.
Whoever has the opportunity to visit the theater should take the time for the forelock; do so and immerse yourself in the enchanting world of Burmese puppet theater. A highly entertaining evening and an unforgettable experience is guaranteed nowhere else outside of Burma.
All those who have dedicated their lives to perpetuating the art of puppetry and all those who love to enjoy the exciting and moving performances of yoke-thay pwe should, in united and unremitting efforts, ask ‘La-Maing-Shin-Ma’ Don’t let this wonderful old form of entertainment be forever in the past and disappear. He may have something wonderful in store. Remember, the ways of the celestials are mysterious. After all, his right to exist as the puppeteers’ guardian spirit is as much at stake as the existence of those he is meant to protect.
So, dear La Maing Shin Ma, I suggest you roll up your sleeves and get to work.
