He would perform the script from memory while jerking, sliding and subtly manipulating his characters, often to the accompaniment of drums, tambourines and flutes. Sometimes he enlisted help, especially boys to do the female voices. “The more he could add song, poetry, emotional expression and the diverse, animated voices of men, women and children-and even of animals and birds -the more popular he would become.rais al-khayal : “Shadow master” part of each company - knew at least 28 plays (one for each night of the Ramadan).
A strong lantern behind the characters (but in front of the puppeteers) cast the shadows of the moving figures onto the cloth screen, on the other side of which sat the audience.” They were mounted on long wooden rods in such a way that their arms, hands and legs could be animated from behind by manipulating the sticks. The shadow figures were generally about 30 centimeters (12") tall and made of stiff, thin-stretched translucent camel-hide.
#Turkish shadow puppetry portable#
#Turkish shadow puppetry serial#
Light on the screen was symbolic of God and gave ‘life’ to the characters - helped reinforce the Islamic perception of human’s dependence on God.White screen on which are played the puppets is symbolic of the divide between reality and the imagination and helped remind the audience that what they were seeing wasn’t real but a product of the imagination- hence comes the name “Shadows of the imagination”.
Especially on the nights of the holy month of Ramadan.Well-spread and loved form of entertainment.Performed on very special occasions (birthdays, weddings).Key figure: Ibn Daniyal (Iraqi poet and playwright).Either complex/simple, serious/farcical.Also called “Shadows of the imagination” or “Shadows of fancy”.
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