Javanese Opera

10.7021/PAJ.200507.0097

Didik Nini Thowok

Javanese opera ； Langendriya ； Langen Mandra Wanara ； Langen Wiraga ； Langen Asmarasupi ； Mahabharata ； Ramayana ； Wayang Wong ； Jogjakarta ； Surakarta ； Tembang Macabat dialogs

臺灣戲專學刊

11期（2005 / 07 / 01）

97 - 110

英文

Fundamental differences in music, vocalization techniques and incorporation of intricate choreographed dances are some of the aspects that make Javanese opera uniquely different from its Western counterpart. Indonesian art is strongly influenced by India, China, and Arab and the Western states. Indonesian performing arts are based heavily on the Hindu epics of Mahabharata and Ramayana. Historically, performing arts in Indonesia can be generally categorized into palace arts, aristocratic arts, and popular arts. Javanese opera consists of four dance forms called the Langendriya, Langen Mandra Wanara, Langen Wiraga, and Langen Asmarasupi and they shared a common form of dancing called the Jengkeng or the squatting positions. These four dance forms can trace their origins back to the Wayang Wong, which was originally performed in the royal palace in the 18th century. There are three elements to the Javanese opera that formed the basis of the performance, the story, the dance techniques, and the Tembang Macabat dialogs. One of the most fundamental differences between Javanese and European opera is in the performance techniques. A Javanese opera performer must master the Tembang Macabat dialogs while performing difficult dance techniques in the Jengkeng. In contrast, the European opera singer only has to perform standing still without the need for any dance movements. There are also other fundamental differences that require the Javanese performer to master different music and dialogs. Although character understanding is mandatory for performers of both opera forms, Javanese opera has many distinctly different roles that are difficult to master.