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Karagiozis -- a form of comic folk drama employing stock puppet figures -- was immensely popular in Greece until recent years, when newer forms of entertainment have virtually eclipsed it. Derived from ancient Byzantine and Greek sources, it takes its name from the principal puppet character, the clever, humpbacked fool-hero Karagiozis, who appears in many guises, surrounded by a cast of folk caricatures from all walks of life.Kostas and Linda Myrsiades present here a tripartite view of Karagiozis: a translation of a typical text taken directly from a live performance; interviews with one of t

Shadow shows --- Chinese shadows --- Gallanty-shows --- Shadow pantomimes and plays --- Shadow plays --- Shadow puppet plays --- Shadow puppetry --- Shadow theater --- Puppet theater --- Karagöz. --- Karagheuz --- Karaghiozis --- Karagiozis --- Karagös --- Karankiozēs --- Qaragoez

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The aim of the author's research was to study 1) the thematic elements and the composition of the plays (lelampahan wayang), and 2) their religious and cultural background. She concentrates on one particular play: the story of Bima Swarga. The study is based mainly on fieldwork carried out in Bali over the period 1972-1976, when materials were collected from oral and written sources.

Wayang --- Shadow shows --- Music, Dance, Drama & Film --- Drama --- Chinese shadows --- Gallanty-shows --- Shadow pantomimes and plays --- Shadow plays --- Shadow puppet plays --- Shadow puppetry --- Shadow theater --- Wajang --- Wayang plays. --- Puppet plays --- Puppet theater --- Puppets and puppet-plays --- Indonesian drama --- Javanese drama --- Wayang. --- Shadow shows. --- Indonesia --- indonesia --- Bali --- Balinese language --- Bima --- Dalang (puppeteer) --- Gendèr --- Holy water --- Javanese people --- Lakon language --- Pandu

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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.

Women puppeteers --- Women performance artists --- Shadow shows --- Puppet theater --- Shadow puppets --- Performance art --- Arts, Modern --- Happenings (Art) --- Performing arts --- Wayang puppets --- Puppets --- Puppet shows --- Puppetry --- Puppets and puppet-plays --- Theater --- Chinese shadows --- Gallanty-shows --- Shadow pantomimes and plays --- Shadow plays --- Shadow puppet plays --- Shadow puppetry --- Shadow theater --- Performance artists --- Women artists --- Puppeteers --- History --- Benton, Pauline.

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"Wayang kulit, or shadow puppetry, connects a mythic past to the present through public ritual performance and is one of most important performance traditions in Bali. The dalang, or puppeteer, is revered in Balinese society as a teacher and spiritual leader. Recently, women have begun to study and perform in this traditionally male role, an innovation that has triggered resistance and controversy. In Women in the Shadows, Jennifer Goodlander draws on her own experience training as a dalang as well as interviews with early women dalang and leading artists to upend the usual assessments of such gender role shifts. She argues that rather than assuming that women performers are necessarily mounting a challenge to tradition, "tradition" in Bali must be understood as a system of power that is inextricably linked to gender hierarchy. She examines the very idea of "tradition" and how it forms both an ideological and social foundation in Balinese culture. Ultimately, Goodlander offers a richer, more complicated understanding of both tradition and gender in Balinese society"--

Shadow shows --- Women puppeteers --- Wayang. --- Sex role --- Ethnology --- Cultural anthropology --- Ethnography --- Races of man --- Social anthropology --- Anthropology --- Human beings --- Gender role --- Sex (Psychology) --- Sex differences (Psychology) --- Social role --- Gender expression --- Sexism --- Wajang --- Chinese shadows --- Gallanty-shows --- Shadow pantomimes and plays --- Shadow plays --- Shadow puppet plays --- Shadow puppetry --- Shadow theater --- Puppet theater --- Puppeteers --- Bali Island (Indonesia) --- Lesser Sunda Islands --- Civilization. --- Gender roles --- Gendered role --- Gendered roles --- Role, Gender --- Role, Gendered --- Role, Sex --- Roles, Gender --- Roles, Gendered --- Roles, Sex --- Sex roles