Rede--Leyden. / Includes bibliographical references.

Thesis (Ph. D.)--University of Hawaii, 1979. / Typescript. Includes bibliographical references (leaves [305]-312).

Thesis (M.A.)--University of Wisconsin--Madison, 1982. / Typescript. eContent provider-neutral record in process. Description based on print version record. Includes bibliographical references (leaves 130-134).

Proefschrift--Letteren--Leiden, 1981. / Egalement publié en tant que Verhandelingen, Koninklijk Instituut voor Taal- , Land- en Volkenkunde, Leiden, vol. 90. Bibliogr. p. 318-326. Index.

Thesis (M.A.)--University of California, Santa Cruz, 1992. / Typescript. Includes bibliographical references (leaves 196-198).

This thesis is intended to be the first detailed account of the craftsmanship, iconography and background of the Balinese shadow play. The theatre has an important place in Balinese culture both as it is seen to be the original art form and also as it is an essential part of religious rites. The stories upon which the plays are based are taken mainly from the Hindu epics, the Mahabharats and Ramayana. The characters, most of who are derived from the epics, are first introduced. This is a relevant background for understanding the iconography. The thesis then turns to look at the making of the puppets. From this it emerges that complex cultural and ritual regulations underpin the craft. This leads into the largest section of the work which deals with an examination of the principles underlying the depiction of the mythical characters and their significance in terms of both the texts and the oral tradition. It is evident that the puppets are composed of standard parts which carry a more or less defined meaning. There is one important class of figures which stand out by the uniqueness of their depiction, but do not exist in the epics at all. These are the servants who are studied in some detail. It is useful further to stand back and survey a collection of puppets as a whole. This reveals complex forms of connections with social institutions and cultural beliefs. A study of the Iconography is incomplete however without an examination of the performance itself in which the puppets are seen as part of a more elaborate system including other dramatic elements. This provides the means by which cultural ideas are portrayed both through the visual form and the spoken word to the Balinese.

Thesis (Ph. D.)--University of Michigan, 1980. / eContent provider-neutral record in process. Description based on print version record. Includes bibliographical references (p. 581-585).

印度尼西亞是一個共和國國家（印度尼西亞語：Republik Indonesia），簡稱印度尼西亞或印尼，為東南亞國家之一；印尼由上萬個島嶼組成，是全世界最大的群島國家，疆域橫跨亞洲及大洋洲。而瓦揚（wayang）是印尼的一個文化代表，已經有了很長的歷史，不指是個藝術作品，也反映了印尼人民的生活與社會層面，除了受到印度文化的影響，有部分是受到了中國文化的影響，是由華人帶入印尼的，如布袋戲在印尼也歸類為Wayang（瓦揚）的一種，而為了與其他瓦揚分別，就稱為Wayang Potehi，是從福建話「布袋戲」所擬音的。 由於印尼政府對中國文化的排斥，所以布袋戲也受到不少限制與控制。因為這些原因，瓦揚布袋戲慢慢沒落，在70到90年代的時候，面臨了危機，差一點消失。直到印尼總統瓦西德擔任總統時，印尼華人才再一次得到同等的機會，把過去已被剪斷的文化再一次復原。而泗水一處有一個廟宇，直到如今仍然還保存著此藝術的存在，作為他們宗教活動的一個部份。 是以本研究將探討印尼─泗水的「鳳德軒」廟宇與其布袋戲劇團發展史，探討劇團組織與其藝術。通過此研究之後，希望可以更深入瞭解在印尼發展的布袋戲背後的歷史，在印尼政府限制的期間，他們如何生存下來？以及同樣從福建傳來的布袋戲，在台灣與印尼怎麼尋找他們自己的出路，如何在藝術上有所發展演化與變遷？同時也通過此研究，讓印尼的瓦揚布袋戲得到新的看法以及出路，借鑑台灣的布袋戲經驗，展望未來。

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This dissertation examines an Indonesian-North American version of an evolving, transnational and hybrid multimedia art form which has come about through forty years of adaptations made by cross-culturally located artists in creative conversation with Indonesian performers involved in the Javanese and Balinese forms of musical theatre known as wayang. Wayang theatre employs puppets and other components including gamelan music (Indonesian percussion instruments, drums, flutes, strings and vocals). Given this complexity, there are many possibilities for variations, changes, and hybridization. In this research project, I analyze aspects of this hybrid performance by analyzing select Indonesian-North American wayang performances, as case studies. In order to isolate complex changes and various adaptations of wayang performances in the North American setting, I also analyze and contextualize a hybridization of Javanese and Balinese wayang performances. As a performance art form, wayang has always been changing historically—at some points more quickly and dramatically than at other periods of time, thus resisting firm categorization that would provide a baseline for comparison. I have developed the wahiyang theoretical framework as an analytical tool to identify the influence of North American culture on the wayang performances in my case studies. I argue that new genre of wayang is emerging, creating a hybridized form that I call wahiyang gaya NA. This process has progressed to the point that wahiyang gaya NA can be said to represent a new genre of multimedia world art, which combines elements of local and global artistic practises, making the form even more flexible and adaptable than its original forms in Indonesia. The gradual spread and popularization of wayang in North America has definite historical contexts, namely the early 19th-to-mid 20th century conjunction of decolonization and Third World nationalism, with the more recent decades’ layering of multiculturalism and push towards conscious cultural responses to economic globalization. This developing continuum of new hybrid forms spans a spectrum of cultural inclusion and expansion of wayang and new components. At times these may be seen as wayang influence upon Western performance practice; at other times an entire Indonesian wayang production with additional elements added from Western music, theater, and other disciplines may be presented. These developments signify an enhanced and expanded exchange of cultural products between the nations of the world, taking place in an expanded space for dialogue between the artists of the developed and developing countries. I will show, using case studies, how this process has produced and is producing a new branch of wayang as part of a continuum of hybridized wayang forms. By examining selected performance collaborations that have taken place over the last 40 years, I will provide a detailed analysis, which for the first time, lays out the components that constitute the variation of wayang art performance that has developed in response to geographical and cultural contexts of the Pacific Northwest of USA and Westcoast Canada. / Graduate / 2018-04-12 / 0377, 0357, 0465 / sutrisno@uvic.ca