【亚洲•印度尼西亚】哇扬皮影偶戏 The Wayang Puppet Theatre (2008年)

“瓦扬以其精致的木偶和复杂的音乐风格而闻名，这种古老的讲故事形式起源于印度尼西亚的爪哇岛。十个世纪以来，瓦扬在爪哇岛和巴厘岛的皇家宫廷以及农村地区蓬勃发展。瓦扬已传播到其他岛屿（龙目岛、马杜拉岛、苏门答腊岛和婆罗洲）在那里，各种地方表演风格和音乐伴奏已经形成。

虽然这些精心制作的木偶在大小、形状和风格上各不相同，但主要有两种类型：三维木偶（瓦扬·克里蒂克或戈列克）和从后面照亮的屏幕前投影的扁平皮影木偶（瓦扬·库利特）。这两种类型都以服装、面部特征和铰接的身体部位为特征。木偶大师（大郎）通过木偶上的细长木棍操纵旋转的手臂。歌手和音乐家用铜器和伽美兰鼓演奏复杂的旋律。在过去，木偶演员被视为有修养的文学专家，通过他们的艺术传播道德和审美价值。代表“普通人”的漫画人物的言行为批评敏感的社会和政治问题提供了一个工具，人们认为，这一特殊角色可能是瓦扬几个世纪以来生存下来的原因。瓦扬故事借用了土著神话中的人物、印度史诗和波斯故事中的英雄。这些剧目和表演技巧在木偶演员、音乐家和木偶制作者的家庭中口头传播。木偶大师需要记住大量的故事，并以机智和创造性的方式背诵古老的叙事段落和诗歌歌曲。

瓦阳木偶戏仍然很受欢迎。然而，为了成功地与视频、电视或卡拉OK等现代娱乐形式竞争，表演者往往以牺牲故事情节为代价来强调喜剧场景，并用流行歌曲取代音乐伴奏，从而导致一些特征的丧失。"

2008年度列入人类非物质文化遗产名录。

来源：联合国教科文组织亚太地区非物质文化遗产国际培训中心

Renowned for its elaborate puppets and complex musical styles, this ancient form of storytelling originated on the Indonesian island of Java. For ten centuries wayang flourished at the royal courts of Java and Bali as well as in rural areas. Wayang has spread to other islands (Lombok, Madura, Sumatra and Borneo) where various local performance styles and musical accompaniments have developed.

While these carefully handcrafted puppets vary in size, shape and style, two principal types prevail: the three-dimensional wooden puppet (wayang klitik or golèk) and the flat leather shadow puppet (wayang kulit) projected in front of a screen lit from behind. Both types are characterized by costumes, facial features and articulated body parts. The master puppeteer (dalang) manipulates the swivelling arms by means of slender sticks attached to the puppets. Singers and musicians play complex melodies on bronze instruments and gamelan drums. In the past, puppeteers were regarded as cultivated literary experts who transmitted moral and aesthetic values through their art. The words and actions of comic characters representing the “ordinary person” have provided a vehicle for criticizing sensitive social and political issues, and it is believed that this special role may have contributed to wayang’s survival over the centuries. Wayang stories borrow characters from indigenous myths, Indian epics and heroes from Persian tales. The repertory and performance techniques were transmitted orally within the families of puppeteers, musicians and puppet-makers. Master puppeteers are expected to memorize a vast repertory of stories and to recite ancient narrative passages and poetic songs in a witty and creative manner.

The Wayang Puppet Theatre still enjoys great popularity. However, to compete successfully with modern forms of pastimes such as video, television or karaoke, performers tend to accentuate comic scenes at the expense of the story line and to replace musical accompaniment with pop tunes, leading to the loss of some characteristic features.

Included in the list of human intangible cultural heritage in 2008.

Source: UNESCO International Training Center for intangible cultural heritage in the Asia Pacific Region