THE BURMESE MARIONETTE THEATER AXEL BRUNS INDEPENDENT SCHOLAR, BERLIN PREFACE 148). The Ramayana, so popular for centuries in those coun­ tries, came to Burma only in the eighteenth century. Little is known about the puppet theater in Burma (or Myan­ These facts may be the reason for the claim by some authors mar) outside that country, which has been largely isolated in that the marionette stage of Burma is a "truly Burmese inven­ recent decades. In Burma itself articles and books on this subject tion" which emerged without any foreign "intervention" (e. g. are published quite frequently, but nearly all are in Burmese. Ba Cho in Khin Zaw 1981, 14). These authors base their opinion Translations from English into Burmese usually are no prob­ on a decree issued in 1821 by U Thaw, the "Minister of the Royal lem, but vice versa it is a little difficult. For a very special subject Stage," taking it for the birth certificate of the Burmese mari­ like puppetry it seems to be nearly impossible to find qualified onette stage. Others take the view that it existed before 1821, but interpreters. only in a rudimentary form. U Thaw added the more important Of course the Burmese marionette stage is mentioned in parts, thus creating the marionette show in its classical form various books on Asian puppetry as a whole or on Burmese (Htin Aung 1937, 147). Ba Cho's theory has become untenable drama in general. But due to limited access to information on during the last decades. It is still not known whether the this subject the respective authors tend to summarize and Burmese marionette theater is an imitation of the Indian or generalize. Nevertheless, even this limited information is often Chinese forms or if it developed independently. Nowadays based on assumptions and guesswork. As some authors prefer Burmese scholars widely express the opinion that it developed to adopt their predecessor's opinion instead of doing research of independently, but experienced influences from neighboring their own, some errors remain for decades. countries to a greater or lesser extent. Those foreign influences so far remain speculation, but we have written evidence for at least 500 years: OUTLINE OF HISTORY 1. The "Glass Palace Chronicle," compiled under the last Bur­ It is neither known exactly where Burmese puppetry originated man dynasty, mentions that King Alaungsithu (1112-1167) nor how long ago it came into existence. Burma is of course saw a group of stone musicians during a pilgrimage to India situated in Southeast Asia, an area in which the respective and revived them, thus "inventing" the Burmese marionettes countries have adopted a great deal of their culture from China (p. 114). and India, the influence of the latter being predominant in 2. A stone inscription on the Htupayon Pagoda in Sagaing Burma. Both have a long history of marionette theater and (built in A.D. 1444) mentions a group of pagoda slaves who therefore an Indian or a Chinese influence cannot be ruled out. were donated to the pagoda to celebrate the inauguration. The Indian influence was mainly spread by traders via the sea Among them were some persons called ayup thi-puppe­ routes and as the center of Burman culture for most of that teers. people's history lay on the upper Irrawaddy River, they might 3. Ratthasara (1468-1530), one of the most learned and vener­ not have experienced the Indian influence as much as the Mon, ated monks of Burma, well known for his poetry, mentions who settled in the coastal regions. On the other hand, Burma is puppets in three of his poems, including the thanwara pyo. separated from China by mountains that are not easily traversed. 4. The Maha yazawingyi (1724) gives a depiction of a mission Another point worth mentioning is the fact that the Burmese to the court of King Anaukhpetlun by a delegation from marionette theater is unique among its sisters in Southeast Asia. India in 1618, whose members were entertained by various While in Thailand, Malaya, Indonesia and Cambodia the shadow musical troupes, dancers and marionettes. theater was the predominant form of entertainment, it has never 5. U Thaw's decree from 1821 (see above) is quoted by nearly all been known to the Burmans, as Dr. Htin Aung points out (1937, scholars. It is probably the most comprehensive and infor- 89 Journal of the Siam Society Vol. 82, Pt. 1 (1994) 90 AXEL BRUNS mative description of traditional Burmese puppetry.lt com­ others who deserved well of puppetry were rewarded by the prises several rules regarding the construction of the puppet king. U Htoke, the "Deputy Minister of the Royal Stage," was stage, the sequence of appearance of the various puppets, the invested with seven villages in 1776 and U Thaw held the title salary of puppeteers, etc. of "Lord of Shwedaung." The courtly troupes were also important as a link between Early European travellers to Burma also mentioned the the royal court and the common people. Sometimes they used puppet stage. While the Burmese sources are very often equivo­ a play to make the poor man's plight known to the king. Once cal, referring only to "big and small figures" (Kala) or "diverse when a soldier died, his wife was forced by the commander of figures" (U Toe), the Europeans definitely refer to marionettes. his troupe to serve in his place and to accompany the troupe The first of them was probably Michael Symes ("Account of wherever it had to go. The name of the unfortunate widow was an embassy to the kingdom of Ava in the year 1795"). He made known to the king by means of a pun. The king inquired witnessed a puppet show organized by the mayor of Pegu. His about the matter and ordered that the woman be sent home report proves that Ba Cho and Tilakasiri are wrong in appoint­ immediately. ing U Thaw as the inventor of Burmese puppetry. The king's subjects shared the royal passion and engaged Another early.European traveller was Capt. R. B. Pemberton puppet troupes for all kinds of festivities. As Burma is quite rich ("Journey from Munipoor to Ava, and thence across the Yooma in festivities, there was a great demand for performances. mountains to Arracan"). He makes mention of a puppet that was Consequently there were numerous puppet troupes that toured displayed by a few Burmans in a village. These Burmans fur­ all over the country. The "Ministry of the Royal Stage" took a thermore told him that they had a bigger, life size puppet, which close look at their activities to make sure that rules such as the was unfortunately out of order. This indicates that there must prohibition of indecent remarks were observed. have been two different kinds of marionettes, large ones and The third Anglo-Burmese war sealed the fate of the Burmese small ones. The large puppets might have proved too difficult monarchy. The last king, Thibaw, was dethroned and exiled. to handle so this kind of puppetry was finally abandoned. The British conquest resulted in an ever-increasing alienation Burmese puppetry doubtlessly had its heyday in the late of the Burmese from many of their traditional values, which fell eighteenth and during most of the nineteenth century. Under into disregard. Htin Aung noted "The annexation by the British the Konbaung dynasty (1752-1885) the art of puppetry was in 1886 was disastrous for the puppet-show, for, unlike the patronized by the royal family and the courtiers. The creation of living actors, the puppets were almost totally dependent on a "Ministry of the Royal Stage" is only one indication of the court patronage" (1937, 146). importance attached to puppetry by the royal court, which had But the puppeteers did not give up easily: they made gallant as many as four puppet stages. The members of the "Great Royal attempts to keep their art flourishing, and for a time it seemed Stage" were personally selected by the king, those of the "Lesser that the puppet stages, freed from all restrictions imposed on Royal Stage" by the queen or crown prince, and the puppeteers them by the royal court, would be able to develop further and for the "Crown Princess's Stage" were selected by the crown hold the field against the upcoming competitors. New puppets princess. Finally there was the "Royal Court Stage," which were introduced and the repertoire was complemented by played for the courtiers. modem dramas which were played alongside the classical ones. The privileges of the particular troupes were defined quite Ba Cho (in Khin Zaw 1981, 14) gives a humorous description of specifically. Only the "Great Royal Stage" was allowed to be the "modernized" puppet shows. accompanied by two orchestras, placed to the left and to the Despite all the efforts made by the puppeteers, the "zat pwe" right side of the stage front. There were a number of decorations stage with living actors, who had adapted many of the achieve­ like "kya yat" (lily fans) and plantains which indicated the status ments of Western stages and turned from a humble ground of the stage. Another important distinction was made by "thaings" level performance to a full-blown theater, surpassed the puppet (scepters), which symbolized the authority granted by the royal stage in popularity. The puppet actors, especially the singers, patrons to the stage principal. He was empowered to drive deserted in flocks to find a better living (and payment!) with the troublemakers such as drunkards, etc. from the stage, even by "zat pwe" troupes. The puppet troupes had to reduce the force if necessary.