The theme of the Burmese theater ‘Pwe’, in general, and the Burmese puppet theater ‘Yoke-Thay Pwe’, in particular, is definitely very interesting but also very complex. Therefore, it is difficult to treat it sufficiently in article form. After all, entire books with hundreds of pages have been written on this subject. OK so; I try to do my best and please let me know if I have succeeded.

In his ‘Brandon’s Guide to the 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 than one would think possible. “And that’s 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 its attention towards more modern forms of entertainment that are easier to consume, such as television, cinema, videos and video games, etc. pwe (theater) 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. The most popular is perhaps a mix of dance, music and drama called ‘Zat Pwe’. Zat pwe is often preceded by a theatrical form of pwe, called ‘Pya Zat’; here a heroic prince must defeat the evils of demons and sorcerers.

Another form of pwe is related to episodes of 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 publicly performed 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 Ko Gyi Kyaw or Min Kyawzwa, is possibly the most beloved nat. U Min Kyaw is the guardian of drunks 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 which is said to have its origins in India but has over time become 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 puppetry/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 King Hsinbyushin’s return 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 of the throne), who succeeded him, opened a ‘Ministry of Fine Arts’ in his court in 1776. He appointed ‘Minister of Royal Entertainment’, U Thaw Win , who has now been entrusted with the development of a new art form pwe.

It is important to know and keep in mind that in the history of Burma and not a little even today the norms 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 unwilling to do in public, the wooden figures could do; the ‘Yoke-Thay Pwe’ was born.

Not undisputed, but widely accepted, is that by laying down strict rules and guiding principles, 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 has 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 always has to 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, the 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, later up to 2.5 feet/0.75 meters.

All yoke thay pwe companies 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 puppetry requires not only learning over many, many years under the close supervision of a puppeteer, but also a no small degree of talent because a single puppeteer must manipulate 28 separate puppets/string puppets. Some of these have up to 60 strings attached to them to perform the different gestures and dances. However, most puppetry requires 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 derives 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 attendant (Daw Mo), I) a clown attendant (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 snake (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 Honour’ (Ah-Pyo-Daw), v) two elder 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 clothing of all these figures is 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.

The utmost attention in yoke-thay-pwe is given to the orchestra and the vocalist, as they are of vital importance to her.

a) the 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 different two-headed drums (hauk-lon-pat), f) one large two-headed drum (pat-ma-gyi).

Also part of the orchestra is 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 relates in an almost historical moral way to overcoming Gautama Buddha’s various sins to gain ultimate rebirth and enlightenment from him.

The song that opens most yoke-thay-pwe performances has been very popular in Burma for generations and always heralds the appearance of the much-loved ‘Maid of Honor’, ‘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.”

“Maid of honor, 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 that was once given a higher status than any other form of pwe and that ruled the Burmese theater world without dispute, is slowly but surely disappearing. This is partly due to the demise of the old generation of puppeteers, a loss that unfortunately is not made up for by the emergence of a sufficient number of new masters, and partly because traditional yoke-thay pwe performances last almost a year. whole night. therefore, they are very demanding on both the puppeteers and the audience. But there is no substitute for this highly entertaining wonderful art of 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 puppeteers Ma Ma Naing and her husband from the ‘ Mandalay Marionettes Theater’ in Mandalay, located on 66th Street between 26th and 27th Streets (just around the corner from Mandalay Swan Hotel and Sedona Hotel), where the best yoke-thay pwe performances are held every night .

The theater was founded by two ladies in 1986 and the company began its career 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, well-respected and highly-skilled puppeteers. The company has won several national awards and has performed in various foreign countries.

Whoever has the opportunity to visit the theater should take the time by the pompadour; go ahead and immerse yourself in the enchanting world of Burmese puppet theatre. A highly entertaining evening and an unforgettable experience anywhere outside of Burma are guaranteed.

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 tireless efforts, ask ‘La-Maing-Shin-Ma’ Don’t let this wonderful ancient 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 existence as the guardian spirit of the puppeteers is as much at stake as the existence of those he is tasked with protecting.

So, dear La Maing Shin Ma, I suggest you roll up your sleeves and get to work.