History[ edit ] The bangsawan theatre troupes reached their peak of popularity in the 19th to mid 20th century prior to the great war. These two are the healing ritual called main puteri and an indigenous form of sung dance-drama, called mak yong.
The audience sits on three sides of the stage, the fourth side being reserved for the orchestra consisting of a three-stringed spiked fiddle rebaba pair of double-headed barrel drums gendang and hanging knobbed gongs tetawak. Then the black shadow of the evil demon Ravana swoops to confront him.
It is not unusual for performances to draw audiences of people and last several nights. The wealthier the group, the more pompous were the paintings.
This dialogue-like communication with the spirit of the illness may last long and it often includes even obscene humour. The name nora is a shortened form of the name Manora, the standard heroine of an ancient tale, which often serves as the plot material for this type of dance-drama.
For example, plays with Indian themes are accompanied by Indian Bollywood-kind music and costuming in order to refer to India, and Chinese stories were staged similarly with some references to Chinese music and visual elements.