The tale of Èrlangga

In October 1977, the village congregation of the Pura Sukawati in Ubud, Bali, organized a large-scale temple festival. On the evening of the third day of the festival, two drama performances were held, a Top?ng Pajegan early in the evening, and after midnight, a Top?ng Prembon. Not long after sunset, a lone Top?ng actor came into the temple courtyard. As soon as the gamelan instruments were brought out, the actor put on his first mask, and the performance began. The audience simply stood or sat in a large circle, forming the boundaries of the acting area. There was little illumination in the temple courtyard. One or two kerosene lanterns, placed on the wall of the temple, cast the actor's shadow in a pale ring of light. During the Top?ng Pajegan performance, a ritual shadow play (Wayang Lemah) was in progress in the adjacent courtyard. At one point in the performance, several old ladies paraded through the performing area, carrying offerings to the innermost courtyard of the temple. The Top?ng Pajegan lasted little more than an hour, and after the performance was over, the audience dispersed to socialize, drink tea, or take a nap

Art · Art history · Astronomy · Drama · Evening · Midnight · Shadow (psychology · Sunset · Visual arts · Asian Studies and History · Philippine History and Culture · Psychology

• Jelantik Goes to Blambangan A Topeng Pajegan Performance

  Open Access•I Nyoman Kakul, I Made Bandem et al.•The Drama Review TDR•1979

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