Stage Constructions and Performance Program of Myanmar Marionettes Theater in the Past
4.1 Different Performing Stages
In the past Myanmar Marionette Stage was constructed in the same traditional design. It was in the shape of “a truncated triangle”; The front was wide (like a panoramic cinemascope screen) and the back of the stage was narrower.
The front face was so long that (two scenes or) two kingdoms could be established and performed, one on either side, and played at the same. Specification for stage construction as mentioned by Thabin Wun (Officer) in 1883, did not changed but sizes became smaller in subsequent years.
The following stages were mentioned in line with measurement-ratio.
(5) Half Moon Stage
Shwe Bo Tin Maung, an innovative pioneer and puppet master of that period, changed his stage with new electricity, spot light, new presentation! Thus he had responded with a new idea to an old challenges; the live drama and performance. However this new puppet stage, which he named Half-moon stage went into oblivion presumably because of technical difficulties. He returned to his old puppet stage a square, not a truncated triangle. Soon he introduced a new “double stage.”
(6) Double

(1) Place to manipulate the string, (a platform) – length 15’ x width 3’feet
(2) Puppet dancing place (Dance area) 15’ x 3’
(3) Stage-height 1.5’, 15’ x 3’
(4) Back drop. Height 6’, length 15’ (background screen)
(5 and 6) stair/ladder to go up to puppeteers’ place or platform.
Height of the stage was 3- fore-arms length (taung) from the ground. But at the height of 2’, the stage was reinforced (? Not seen). Area behind the puppeteers was wide enough for a work and rest.

The traditional truncated stages were gradually disappearing replaced by square stages by about 1960.
There was no roof over the puppeteers. They had to sit unprotected on the platform. There was a roof, higher than an average height of a man, covering from middle to the back where puppets could be hung. (Front section had no roof at all).
The platform for puppeteers was supported by a number of wood pillars. Below this and behind the backdrop, was an area reserved for the puppeteers. The floor here was also strong.

Oo Aung Myint was the stage-instructor and light expert. He had built the half-moon puppet stage. He had a good experience under (Alinka Kyawswa shweman) Oo Tin Maung’s troupe and Shwebo Tin Maung’s puppet stage. He was acting advisor to Mandalay Marionette stage. He said, “After working with Shweman U Tin Maung (1960), I had worked with Shwebo Tin Maung in lower Myanmar.

Back to Mandalay in 1962, he designed a “double stage” with new lightings and back drop. Color slides were also used on the backdrop. It was specially to offer a better effect in all puppet presentation. Puppeteers could sit on the platform. It was also a new innovation offering comfort to them. They had suffered and withstood to a prolonged upright standing in the past.
4.2 Decorating Myanmar Marionette Stage

In a puppet–performance arrangement ran as follows;
In the past, kerosene-lamps were placed on the right and left corners of the stage floor. When storm lantern came into use, they were hung before the backdrop.
The Palace (a wooden box decorated at the back like a palace with three spires) was placed on the right side. The backdrop was a large sheet of white linen, decorated with gold and silver sequins.
Small branches with green leaves inserted in bamboo tubes put on either end of the stage signified a “forest scene”.
Later palace scene and forest scene were hung on the backdrop.
When two kingdoms were coming in a story, green branches in a bamboo tube installed between them indicated that there would be a struggle.
If there was a hermitage in the story, it was set together with the palace.
The trees were set proceeding for the Himalayas scene.
There were too much formalities and taboos that were confusing to the audience of new generation and subsequently discarded by the puppeteers; but it was worth mentioning as old tradition. For example, in a puppet show, the horse coming out from one end of the backdrop would indicate a kingdom and court expected on the opposite side.
When two countries are going to emerge the two trees would be set before the backdrop. Thus the audience noticed the emergence of two kingdoms in the coming up stories.
In setting up two kingdoms and palaces, the right palace) was set first. Another on the left would follow. There were so many variations.
4.3 Myanmar Orchestra in Puppet Theatre
To win popularity of a troupe, not only those artists on the stage but also those on the ground (musicians) were all-important and must co-operate together. The vocalist and puppeteers behind the back drop were helped by the music to make a success.
In other words, lifeless wood puppets were instilled with life by vocalists and puppeteers and musicians. Here all performing artists transformed artless wood into artful objects.
So Myanmar puppet music played a very important part. The musicians loved their old tradition. They already had their melodies with different names which the audience of the past possessed enough knowledge and understanding. The melodies (some of them could not be translated) were:
- Do-Mong,
- Tay-Mong,
- Bain-Mong (martial music),
- Tyar-Mong,
- Lay-Byay-Hto,
- Lay-Khin (another martial art music) [video_lightbox_youtube video_id=”3maSvSti0j8&rel=false” width=640 height=480 anchor=”https://myanmarupperland.com/wp-content/uploads/2020/10/Video-25.png” style=”” alt=”” />]
- Nghet-Nyee (Humming Bird) [video_lightbox_youtube video_id=”uVbaHA9OPIQ&rel=false” width=640 height=480 anchor=”https://myanmarupperland.com/wp-content/uploads/2020/10/Video-25.png” style=”” alt=”” />]
- storm and rains sound,
- Weeping songs,
- Wei-lar (going on a river) [video_lightbox_youtube video_id=”80VK6C16wrU&rel=false” width=640 height=480 anchor=”https://myanmarupperland.com/wp-content/uploads/2020/10/Video-25.png” style=”” alt=”” />]
- Pat-sit Cho,
- Pat-Yaing [video_lightbox_youtube video_id=”tXQtpoT5hdE&rel=false” width=640 height=480 anchor=”https://myanmarupperland.com/wp-content/uploads/2020/10/Video-25.png” style=”” alt=”” />]
- Tyar-Yaing (funeral music),
- Palo-chet (drum music)
- Kyo [video_lightbox_youtube video_id=”BbMEcEdKbR8&rel=false” width=640 height=480 anchor=”https://myanmarupperland.com/wp-content/uploads/2020/10/Video-25.png” style=”” alt=”” />]
- Bone-htauk [video_lightbox_youtube video_id=”Cwk3x3bBbfk&rel=false” width=640 height=480 anchor=”https://myanmarupperland.com/wp-content/uploads/2020/10/Video-25.png” style=”” alt=”” />]
- Sidaw (big drum music [video_lightbox_youtube video_id=”sahSxQXxYZY&rel=false” width=640 height=480 anchor=”https://myanmarupperland.com/wp-content/uploads/2020/10/Video-25.png” style=”” alt=”” />]
- Ye-gin (water patrol [video_lightbox_youtube video_id=”GwHBaTXopbQ&rel=false” width=640 height=480 anchor=”https://myanmarupperland.com/wp-content/uploads/2020/10/Video-25.png” style=”” alt=”” />]
- Thain-ga (Reciting Verse [video_lightbox_youtube video_id=”FRcK61rP9ws&rel=false” width=640 height=480 anchor=”https://myanmarupperland.com/wp-content/uploads/2020/10/Video-25.png” style=”” alt=”” />]
- Tha-byae-khan [video_lightbox_youtube video_id=”EEl67PaWrk8&rel=false” width=640 height=480 anchor=”https://myanmarupperland.com/wp-content/uploads/2020/10/Video-25.png” style=”” alt=”” />]
- Hlay-daw than (Boat music) [video_lightbox_youtube video_id=”6OMZgdxiq7A&rel=false” width=640 height=480 anchor=”https://myanmarupperland.com/wp-content/uploads/2020/10/Video-25.png” style=”” alt=”” />]
- Nat sound (Spirit song),
- Nat-doe [video_lightbox_youtube video_id=”1ggwX80U6KQ&rel=false” width=640 height=480 anchor=”https://myanmarupperland.com/wp-content/uploads/2020/10/Video-25.png” style=”” alt=”” />]
- Ozi [video_lightbox_youtube video_id=”qJXfL7l2DxI&rel=false” width=640 height=480 anchor=”https://myanmarupperland.com/wp-content/uploads/2020/10/Video-25.png” style=”” alt=”” />]
- Do-bat [video_lightbox_youtube video_id=”aI-eUnzRQdw&rel=false” width=640 height=480 anchor=”https://myanmarupperland.com/wp-content/uploads/2020/10/Video-25.png” style=”” alt=”” />]
- Karaung [video_lightbox_youtube video_id=”r-5UO0fCYZE&rel=false” width=640 height=480 anchor=”https://myanmarupperland.com/wp-content/uploads/2020/10/Video-25.png” style=”” alt=”” />]
- Phying-chin [video_lightbox_youtube video_id=”HtnHumT3weY&rel=false” width=640 height=480 anchor=”https://myanmarupperland.com/wp-content/uploads/2020/10/Video-25.png” style=”” alt=”” />]
- Phyin phyat phyat,
- Lay-sai sound etc.,
and there would be no end to mentioning more. However many music (melodies) were lost into oblivion now a day.
4.4 Early Night Program
Sido
Patma
Beginning from 7 p.m . drums-circle began playing. First beat or melody were ‘Lay-kin’, and ‘Pat-Kyan’ (rough beat). Then another music “Khun-na-than-che“, a melody characteristic of a drum-circle, declaring that “This is a Puppet Show”. Only drum circle of a puppet stage played this music.
On hearing it, people and children ended their housework and play; they began to gather at the puppet show.
Orchestra fans assembled there. After that ‘Karaung Beat’ came headed by brass gong circle; this brass gave a melody from which the drum circle master tuned his drum circle by sticking ‘Pat-sar’; it was a mixture of ash and cooked rice; by putting it (now a thick paste) on a drum circle and adjusted it to thick and thin, a required tune of each drum was made. Here the brass gong played the ‘Karaung’ and led the drum circle. After all the drums in the circle were finished tuning, a song ‘Shwe-phone-taw-toe-pa-lo’ (song in praise of the King’s power) was played. It was followed by (pat-yai) another music.
Now the drum circle had tuned all his drums; it became a leader and it could lead the whole music troupe. Now another music “Yin-mu-say-lay” and “ Ko-daw-hnin-nant” song, followed by “Lay-htwe-than-kat” were played in the past. (Now these songs as well as the tradition were all lost).
Karaung [video_lightbox_youtube video_id=”r-5UO0fCYZE&rel=false” width=640 height=480 anchor=”https://myanmarupperland.com/wp-content/uploads/2020/10/Video-25.png” style=”” alt=”” />] Pat-sar-kat [video_lightbox_youtube video_id=”iqjX4f-Qaqg&rel=false” width=640 height=480 anchor=”https://myanmarupperland.com/wp-content/uploads/2020/10/Video-25.png” style=”” alt=”” />] Lay-Kin [video_lightbox_youtube video_id=”3maSvSti0j8&rel=false” width=640 height=480 anchor=”https://myanmarupperland.com/wp-content/uploads/2020/10/Video-25.png” style=”” alt=”” />] Khun-na-than-che (1) [video_lightbox_youtube video_id=”-N22Bx6sPPk&rel=false” width=640 height=480 anchor=”https://myanmarupperland.com/wp-content/uploads/2020/10/Video-25.png” style=”” alt=”” />] Khun-na-than-che (2) [video_lightbox_youtube video_id=”rVIhTpw6vUU&rel=false” width=640 height=480 anchor=”https://myanmarupperland.com/wp-content/uploads/2020/10/Video-25.png” style=”” alt=”” />]
Shwe-phone-taw-toe-pa-lo
Yin-mu-say-lay
By 8 pm. The audience was full in the whole arena. “Sin-tai” was an opening scene that the world was created and destroyed by fire, storms and rains there times. It was signaled and reflected in a drum circle music by cymbals seven times followed by a big gong and Bein-boung (a loud martial art music). After the second Bein-boung, the third cymbals sounded but not followed by the Bein-baung. It was a time a new world was created!
Chan—Cham— (Cymbals seven times) followed by big gong and the Bein-baung (drum circle)
After the last gong, a full music from the drum circle played preceding a Spirit Medium. It was a prelude inviting the spirit medium to come out.
Sin-Tai
Myanmar Marionette show began with the emergence of Nat-Ka-Daw (spirit medium) puppet. There was a debate on this term- “spirit medium”. Some held a view that a female dancer puppet was played in the first night (Spirit Medium) and that on the second night was played by a “palace maid.” In both cases, respect and prayers were offered to Lord Buddha, spirit world and elders of the locality.
Song: “O! Big hair knot and brown color skin (appearance of a young Burmese) come to me! Take me. I intend to make my tha-na-kha to apply to my face. Bring me the mirror, I will apply tha-na-kha paste thick on my face!”
“To make my knot bigger, mortgage the horse tail. I love the moon but I hate my elder sister’s husband”. (Note: the song was very old and ancient, as betrayed by funny and dis-connected meaning). After this, the song was found to be praising power of the ruling monarch.
– Majesty’s power mightier! Silver rain fall (giving a lot of riches to the people)! The state was flourishing!
At the end of this song and music, the spirit medium came out (from the right or through the middle gap) advancing gracefully.
Now the drum circle played a part of “Saddan Aine-thar”, and changed the tune to “Tha-byae-khan”. The spirit medium danced slowed and quick with the tempo of the music for a time until she was relieved by chorus and songs sung by members of the drum circle.
After both sides (members of the stage and ground) had worked together for a time, then came for the vocalist behind the backdrop to show his artistic ability. He started singing a song giving respect to Indra, and powerful spirits of the world,
She came out of the central entrance in some marionette shows. She began to dance politely at first. After the end of the song music was heightened and ‘ Sat-dan-aing–thar ‘ classic song was played, soon ‘Tha-byae-khan’ tune followed. In accord with beats dancing became active with quick rounds. The orchestra troupe sang a chorus, “ Pretty and polite, humble and delicate, you sleep in our lap, play the music now”.
“ Dear damsel, your flower necklace is wonderful and sweet.”
At that moment ‘Thone-pan-chi, Thone-pan-cha’ tune was played.
“Four great isles, four great isles—bachelor Maung Htwe—“ (repeatedly)
During that tune Nat-ka-taw offered ‘three homages’. Then musicians continued to play: “our King is more powerful—- more powerful—–“
With that song Nat-ka-taw raised up her hands three times to the Devas. Finishing this, musician played old ‘Spirit song’. (The music and vocalist were playing one after the other. Chorus from the music was quite funny and amusing attracting the audience).
‘Indra’s abode was very high, high above Toke-thi–tar (lowest of 6 Deva’s abodes)— wonderfully pleasant—‘
Repeating it for some time, Bain-baung followed again. (This martial art music was found to be really stimulating)
When it ended, the vocalist behind the back drop started singing again.
“Mingala ye hma Mandai———-“.It was rather a lengthy one, full of disconnected episodes (indicative of an age-old song, or a song from immemorial age).
“I’m the king of gods. (As if Indra was saying) I stay at Mount Myint-mo with my queens and court. I came to the human world for inspecting and listing who was good and who was bad.
At this, the drum circle came in with a melody——– “Phone, Phone, Tan ————-“ After that music, the vocalist continued the ‘Spirit song’.
“I pay three homages with offertory bowl; I request for blessing. Bless me the guardian of the region”. Vocalist continues the followings: “Let all evil go away; Devas protect us from danger; please take care of our health and welfare etc.”
Then the vocalist sang as if another powerful spirit, Min Kyaw Swar, was tealling his story, “See I am never be parted with a cup of toddy and a fighter cock; always ready for a drink and a cock fight.
Drinking without knowing day or night; speaking loud day and night, not respecting the neighbors; plenty of money, I have in my pocket, and ready to deal with all challenges: go away from my path.”
Then the vocalist changed to spirit brothers. “We are brothers, being drunk and dragging our clothes without a feeling of shame. Afraid of no one, we are grandsons of a King” stc.
A little time of rest was given to vocalist by a long chorus from the music members. Their chorus dealt with their daily life, how they catch doves by snare, how they sang to a dancing lady, how they saw young women going to fetch water, and finally they directed a joke at the spirit medium that she was looking for a lover and failing this she was found sullen and sorry sitting at her door step.
Spirit Medium was concluded by a variety of music from the drum circle. Dancing to the beats, the puppet finally entered to the back stage.
After Nat-songs the orchestra plays Mon-song. Then song of ‘Mya Mya Moung Moung’ was played with rapid rhythm ‘Pa lo” beats were added. Nat-ka-taw dances to that tune. Next law-ka-nat tune was played. Then Taung Byone Nat-songs followed.
Nat-gadaw
Nat-than-pyit
Apyotaw dance is opening dance of the puppet-show and it took place in the second night. Apyotaw also drops her hair, but she never wears head-ware of red shawl nor breast-tie. She never raises up the offertory bowl.
Apyotaw favour dancing. Her dancing styles are polite, swift and loveable. Orchestra player, regarding himself as bachelor, teases the palace-maid by verses or unfinished music tune. Nauk-htai or Nauk-hta (orchestra-joker) sang song teasing the maid.
“Weeping dwarf”
“Flirt-maid, come out”
Some invite “flirt-maid, dance “ In response actress dances happily in accord with tune. “ Ma Shut Tay” (flirt) is the name puppet-maid and ‘Ma Shwe Mi’ is the name of famous theatre–maid.
Maid-doll was played by ‘Madi Kai’ the skilled artist Especially Apyotaw has to use 12-types of dancing style. That ‘12’ types have two style Talaing 12-types and Yodaya 12-types. Those were the names of the songs and nothing concerned with 12-styles of dancing. Palace maid never sang. She had to dance in accord with tunes.
A Pyo Taw Palo Gyi [video_lightbox_youtube video_id=”eAGv0y6-0CU&rel=false” width=640 height=480 anchor=”https://myanmarupperland.com/wp-content/uploads/2020/10/Video-25.png” style=”” alt=”” />]
A-Pyo-taw
In the past, the characters Puppets varied from one to another group. Mostly they were:-
(1) Horse
(2) Monkey
(3) Ogre or Demon
(4) Naga ( Garuda & Naga appeared at the same time )
(5) Garuda
(6) Elephant ( Tiger and elephant came out at the same time)
(7) Tiger
(8) Crocodile ( or fish, tortoise —– water-animal)
(9) Parrot (or) Owl ( flying animal)
(11) Stork, Big bird Wunpo
(12) Zawgi (Alchemist)
(13) Old man, Old woman
Spirit medium, Horse, Monkey and Demon appeared early. Other puppets emerged one after another according to old tradition. However with time changes new characters were introduced – Toe-na-ya puppet (Mythical sheep), old man and old woman, Horse and Side–kala (horse-keeper), Crocodile, Buffalo, Dog etc. for attracting the audience. Himalaya’s scene played in the earlier part was referred as ‘rough characters or puppets’ (in contrast nice characters).
Himalaya scene started with Horse character, as the Horse constellation was the earliest to appear when the new world was created. There were variation and debate (but there was no hard and fast rule) as to from which side of the backdrop the Horse should come first. Horse walked back and forth from this end to the other 3 times; then it nodded, moved sideways, walked, trotting or galloped with the beat. When the Horse emerged it had to face toward the palace (right). If the coming up story would have 2 kingdoms, it might come out of central entrance.
Horse emerges
After this, came out the Monkey. At first, it seemed to be alarmed at the sight of its tail (thinking it a snake), jumping and running. Then the monkey became calm identifying at its own tail. It continued to dance swinging and hanging to a vine. Its moved its hands with drum beat; it was the dancing style of the monkey.
Two Demons joined the monkey on the stage. One with a tapering hat was identified as Bilu or “Belu” and the other with a bare head was “Gone-ban”. Each one was seen holding with both raising hand a rod.
They danced together and soon began to fight. The Monkey was caught between the two fighting demons.
Dancing to musics ‘Karaung’ music was a rhythmic drum beat. The demons while dancing looked down (into water), got alarmed at their own sight, went wild, then chased and ran in tempo with ‘Karaung-beats’. One jumping on the other, climbing and descending onto the top of backdrop and finally disappearing over it.
Monkey and Demon
Elephant and Tiger, came out each on one side. Elephant puppet was a solid block of wood and heavy; so it was dragged along the floor, showing no dancing step. But it moved with drum-beat. Elephant had very few but stout strings; and so it had two strings, one on its back and another in front moved it back and forth. Elephant-ears had no string but flapping with its movement. A good puppeteer could dance an elephant well on a minimum of strings.
Tiger In some old puppet shows, a tiger would perform a wonder. A tiger jumped onto the drum circle. The audience was surprised to see it. In other plot, special string mechanism would take the tiger over the audience to kill a lady working on her loom. The Tiger carried her and came back to the stage.
Tiger and elephant
In the past, Galon (Garuda) emerged with the tune of bird’s murmur and the Naga appeared with the music of Bain-baung (fighting tune). They were old enemies. At the end Garuda rode on the Naga. Some play began with ‘Thidar-philar’ tune and Naga came first. Then both went into a fight and disappear over the backdrop.
Dragon and Galon
In the Himalaya scene, a variety of birds, Garuda, Parrot, Owl, Dove and Stock “Wunpo” were played together. Their dancing style was walking on the land or flying in the sky in accordance with the drum-beats.
Big Bird “Wunpo” had long legs and when the neck stretched out, the body looked longer. So in flying and then on landing to look for fish; another puppeteer had to help the other by playing the fish. Big Bird “Wunpo” walked dragging on the floor and move in food-searching style.
Big Bird ” Winpo”
Zawgyi had magic power. He emerged over the back drop or walked in through middle entrance. Zawgyi had a magical stick (wand, rod) in his right hand. Zawgyi danced softly at first and later in amusing style. Important dancing steps were:— climbing, descending, looking for medicinal herbs, medicine grinding, taking a fruit from a tree and creating it to a live young lady with magic power of his wand, and finally ending with an acrobatic stunt before he disappeared over the back drop. Here a skill was definitely necessary as the strings would entangle or mixed up. So an expert or any one skilled in an art was usually called a “Zaw”.
Zawgyi performance always attracted the audience. Zawgyi costume was red or dark brown color. His dance was full of action, magic and wonder of course.
Zawgyi
After Himalaya scene, came in the founding of a kingdom. When a single kingdom was there in the play, a palace would be set up on the right end of the stage. When two kingdoms were in the coming play, two palaces would be set up on either end of the stage; the audience could know the plot. After setting them, Hluttaw scene (where the ministers met) began before the King appeared.
Himalaya scene
After setting the palace and all was ready the music was played for the emergence of ministers who would enter from right side, following one after another in order of seniority. Arriving their office or throne, they bowed down to the throne.
4 Ministers had many names or ranks. Here four would be mentioned: —
(1) Prine Minister (or) Thet-taw-shae
(2) Judicial Minister (only a puppet term. There was no post with this name in actual court)
(3) Wun-dauk (Secretary to the minister)
(4) Myo-daw Wun (Another high officer)
Hluttaw
Two ministers appeared before the King. In some puppet show, a pageboy came out and dance preparing and cleaning the floor of the Palace. (It was a puppet tradition and not found in the court). There were many variations both in names of the puppet and its dance. Some called it “Page boy Dance” (or) some called it ‘Shae-taw-pyae dance’ (One preceding the King). Both live theatre and Puppet show followed different variation. In spite of all, music, and dance were nice to see.
Costume of a page boy (in puppet theatre, not in the palace) in the past; the Page boy wore no jacket. we had ‘kyet–taung-sae’ (a tuft of short hairs tied upright) on his head. Page boys in puppet shows are characteristically a “Kid”. A wooden Kid puppet half-naked was funny and lovely.
Later Page boy was provided with colorful dress. So it was called ‘Thu-nge-taw’ (Royal page boy).
The word ‘Thu-nge-taw’ (royal page boy) was traced to 18 century Konebaung period. They were “NOT KIDS” but “adult” men and women in royal service, native to a village with the same name, now found in north-east of the International Airport, Tada-Oo. They serve in many posts like- sweeper, personal-aid, street-cleaner, communication service, royal servant, office-employer etc. This puppet as a kid was introduced to attract or entertain the audience. (Of course there were kids employed in the palace).
Page Boy

4 ministers came into the scene and a long conversation and discussion was made on affairs of state, rulings, judgements, religion, foreign affairs and so on. Finally they came to discuss about the King’s family particularly on the crown prince who was usually a hero or a center of attention. From the discussion, the audience learnt a hint of the coming up story.
Now a ‘smote-khan’ (a) ‘Lay Saing Than’ music heralded the arrival of the King. Lay Saing Than means music from four musical instruments- small cymbals, Big drum, brass gong, and Mon music. (Different from actual Lay Saing Than in the court)
Now when the King had seated well on the throne, addressed to his ministers and on state affairs, he changed the topic and talked about his son, the Crown Prince. The King ordered that a party should go ahead to welcome his son coming back after completing a study at a University.
From their conversation, the audience learnt the names of the kingdom, king and queen, his son etc. and part of or plot of a coming up story to be played.
Then the drum circle played a music signaling the conclusion. Thus the court audience ended and the early night program was finished.
Nyi Lar Khan [video_lightbox_youtube video_id=”P1sR9noacHs&rel=false” width=640 height=480 anchor=”https://myanmarupperland.com/wp-content/uploads/2020/10/Video-25.png” style=”” alt=”” />] Nyi Lar Khan with King [video_lightbox_youtube video_id=”OeOETyWgvzo&rel=false” width=640 height=480 anchor=”https://myanmarupperland.com/wp-content/uploads/2020/10/Video-25.png” style=”” alt=”” />]
Nyi Lar Khan
4.5. Midnight Performance Programme
This heralded the Duet Dance.
Two ministers were seen busy going outside the royal city. From their conversation, the audience was expecting a newly met pair the Prince met with a Princess. Happily they were travelling back home.
Welcoming the Prince
Duet dance was called ‘Pyi Daw Byan’ (Returning Home) and also called by another name “Myaing Da” (Dance at the Forest Camp). Here the Prince puppet took a lead, and the vocalist (behind the back drop) sang a ‘Yodaya’ song. A variety of other songs (Than-cho, Than-dauk, Bon-dauk etc.) were sung as well. After the Prince, the Princess sang and dance. It was the happiest moment in their life.
They were attended by slaves, guards, and clowns. They said so many jokes to entertain the audience.
In some puppet stage, a puppeteer played a clown and he was found able to compose poems at his lips and citing them to the audience on the spot. The audience appreciated these poems very much. Such puppeteers were known as “Than-cho-kaing”.
“Than-cho-kaing” used to sing songs (on the spot) in honor of the puppet show, the patron and his village, town etc. Sometimes he would tell sarcasm to a rival from another puppet troupe. The opponent returned an attack and there was a battle of words, revealing their intentions, feeling, contemporary politics and rare historical events as well. Their compilations left behind were now a contribution to literature and history.
Only after Than-cho-kaing had finished his recitation, the duet dance started. It was the tradition and the high time of puppet show in the past. Here the best puppeteers and vocalists joined hands together with the drum circle master and his members to present the best performance and it was a time to win popularity among the audience.
Pyi Daw Byan (Myaing Da)
Although puppets imitated human dance, its movements and dances were rather limited.
As a result, the dance style of the puppets differed from that of human. However puppet dance style was and still is beautiful and unique.
Graceful movements of head, body and hands of the puppets all conveyed an art imitated by live dancers. It was an endless debate whether puppets dances imitated live dances or vice versa. But in essence both ways were correct.
Duet Dance ended with “Yodaya” songs and “Lwan Chin’ (a song to a missing or separated person). Some songs described about beautiful natural scenes of the forest and mountains. Then the curtain fell ending the mid night presentation.
4.6. A Story Presented from Mid Night to Dawn

After the duet dance, the puppet play or a drama began. The actors (vocalists) were all well versed in many characters; they were ready to play in any story. They could play in many roles like- rich man, headman, Ponna (a Brahman), Thagya (Indra), Brahmar, Queen, Sons, daughter, poor persons, slave, any good or bad character.
Also other accompaniments were smiles, anger, threats, arrogance, fights, beats etc. Villain had to act rough on actors and actresses. A good villain puppet (with its vocalist behind) was cursed by the people (audience) with threats; and rewarded with stones thrown at him. In fact the “bad” villain was a “good” actor who made the Prince and Princess won sympathy from the audience!
Again the best villain (puppet) ill-treated the hero Prince and Princess so much so that many of the audience were stricken with grief and tears. It was a success of a puppeteer and vocalist promoted by musicians. Many persons in the audience of the past loved to see sad stories.
However the sad story always ended with happy episode usually. A happy reunion was a tradition. The actors in the last scenario would even tell a lesson from a story usually from Jatakas that bad were defeated and the good were always rewarded!
Finale was marked by a characteristic drumbeat known as “Byaw”
(1) Die is cast [video_lightbox_youtube video_id=”D1tyExxf1fY&rel=false” width=640 height=480 anchor=”https://myanmarupperland.com/wp-content/uploads/2020/10/Video-25.png” style=”” alt=”” />]
(2) Departure of Widuya to his wife [video_lightbox_youtube video_id=”273aku0BS5c&rel=false” width=640 height=480 anchor=”https://myanmarupperland.com/wp-content/uploads/2020/10/Video-25.png” style=”” alt=”” />]
(3) Witting with cliff [video_lightbox_youtube video_id=”eM2ptbJG2FU&rel=false” width=640 height=480 anchor=”https://myanmarupperland.com/wp-content/uploads/2020/10/Video-25.png” style=”” alt=”” />]
(4) Preaching [video_lightbox_youtube video_id=”sULeqXLrdDI&rel=false” width=640 height=480 anchor=”https://myanmarupperland.com/wp-content/uploads/2020/10/Video-25.png” style=”” alt=”” />]
(5) Sending back Widuya to his country [video_lightbox_youtube video_id=”UJYv3c-GKsw&rel=false” width=640 height=480 anchor=”https://myanmarupperland.com/wp-content/uploads/2020/10/Video-25.png” style=”” alt=”” />]
Pyi Daw Byan (Myaing Da)
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