Shadow play (Chinese: 皮影戏, pi ying xi) or Ombres Chinoises (French for "Chinese shadows") is an ancient form of storytelling and entertainment using opaque, often articulated figures in front of an illuminated backdrop to create the illusion of moving images. It is popular in various cultures. At present, more than 20 countries are known to have shadow show troupes. The art form is sometimes called shadow puppetry or shadow theatre when shown under a grand presentation.
Shadow play originated during the Han Dynasty when one of Emperor Wu of Han's concubines died. The emperor was devastated, and he summoned his court officers to bring his beloved back to life. The officers made a shape of the concubine using donkey leather. Her joints were animated using 11 separate pieces of the leather, and adorned with painted clothes. Using an oil lamp they made her shadow move, bringing her back to life. Shadow theatre became quite popular as early as the Song Dynasty when holidays were marked by the presentation of many shadow plays. During the Ming Dynasty there were 40 to 50 shadow show troupes in the city of Beijing alone. In the 13th century, the shadow show became a regular recreation in the barracks of the Mongolian troops. It was spread by the conquering Mongols to distant countries like Persia, Arabia, and Turkey. Later, it was introduced to other Southeastern Asian countries. The earliest shadow theatre screens were made of mulberry paper. The storytellers generally used the art to tell events between various war kingdoms or stories of Buddhist sources.
Today, puppets made of leather and moved on sticks are used to tell dramatic versions of traditional fairy tales and myths. In Gansu province, it is accompanied by Daoqing music, while in Jilin, accompanying Huanglong music forms some of the basis of modern opera.
Chinese shadow theater is shown in the 1994 Zhang Yimou film To Live.
The show began to spread to Europe in the mid-18th century, when French missionaries in China took it back to France in 1767 and put on performances in Paris and Marseilles, causing quite a stir. In time, the Ombres Chinoises (French for "Chinese shadows") with local modification and embellishment, became the Ombres Francaises and struck root in the country.
The art was a popular entertainment in Paris during the 19th century, especially in the famous nightclub district of Montmartre. The tradition in France dates back to at least the mid-18th century when it was brought back by travellers to the Orient. The puppeteer Dominique Séraphin first presented the spectacle in Paris in 1776, and in Versailles in 1781.
The cabaret Le Chat Noir ("The Black Cat") produced a number of popular Ombres Chinoises shows in the 1880s, using up to 20 assistants and a large, oxy-hydrogen back-lit performance area. The Ombres evolved into numerous theatrical productions and had a major influence on phantasmagoria.
Hayali Küçük Ali
The Turkish tradition of shadow play called Karagöz and Hacivat was widespread throughout the Ottoman Empire and featured characters representing all of the major ethnic and social groups in that culture. It was performed by a single puppet master, who voiced all of the characters, and accompanied by a classical Ottoman music ensemble. Its origins are obscure, deriving perhaps from an older Egyptian tradition, or possibly from an Asian source.
During the 19th century these characters were adapted to the Greek language and culture, Karagöz and Hacivat becoming Karagiozis and Hadjiavatis with each of the characters assuming stereotypically Greek personalities. This tradition thrived throughout Greece after independence as popular entertainment for a largely adult audience, particularly before competition arose from television. The stories did, however, retain the period setting in the late years of the Ottoman Empire. Karagiozis theatre has undergone some revival in recent years, with the intended audience tends largely juvenile.
Shadow theater is still popular in many parts of Asia. Prahlad Acharya is one famous Indian magician who incorporates shadow theater into his work.
Shadow theatre has influenced some modern Japanese Manga. For example, the Shadow Girls ("A-ko" and "B-ko") in Revolutionary Girl Utena are portrayed entirely in silhouette, as though they were created by shadow puppets.
It also occurs occasionally in popular culture, for example in:
The children's television show Bear in the Big Blue House
The staging of the Rock Island tour from Jethro Tull
The short film Humdrum, released in 1998
The 2002 horror film Dracula: Pages from a Virgin's Diary
Entertainer Bablu Mallick used shadow play as his act during various TV appearances in the 1980s, including on Paul Daniels Magic Show.
Shadow play originated during the Han Dynasty when one of Emperor Wu of Han's concubines died. The emperor was devastated, and he summoned his court officers to bring his beloved back to life. The officers made a shape of the concubine using donkey leather. Her joints were animated using 11 separate pieces of the leather, and adorned with painted clothes. Using an oil lamp they made her shadow move, bringing her back to life. Shadow theatre became quite popular as early as the Song Dynasty when holidays were marked by the presentation of many shadow plays. During the Ming Dynasty there were 40 to 50 shadow show troupes in the city of Beijing alone. In the 13th century, the shadow show became a regular recreation in the barracks of the Mongolian troops. It was spread by the conquering Mongols to distant countries like Persia, Arabia, and Turkey. Later, it was introduced to other Southeastern Asian countries. The earliest shadow theatre screens were made of mulberry paper. The storytellers generally used the art to tell events between various war kingdoms or stories of Buddhist sources.
Today, puppets made of leather and moved on sticks are used to tell dramatic versions of traditional fairy tales and myths. In Gansu province, it is accompanied by Daoqing music, while in Jilin, accompanying Huanglong music forms some of the basis of modern opera.
Chinese shadow theater is shown in the 1994 Zhang Yimou film To Live.
The show began to spread to Europe in the mid-18th century, when French missionaries in China took it back to France in 1767 and put on performances in Paris and Marseilles, causing quite a stir. In time, the Ombres Chinoises (French for "Chinese shadows") with local modification and embellishment, became the Ombres Francaises and struck root in the country.
The art was a popular entertainment in Paris during the 19th century, especially in the famous nightclub district of Montmartre. The tradition in France dates back to at least the mid-18th century when it was brought back by travellers to the Orient. The puppeteer Dominique Séraphin first presented the spectacle in Paris in 1776, and in Versailles in 1781.
The cabaret Le Chat Noir ("The Black Cat") produced a number of popular Ombres Chinoises shows in the 1880s, using up to 20 assistants and a large, oxy-hydrogen back-lit performance area. The Ombres evolved into numerous theatrical productions and had a major influence on phantasmagoria.
Hayali Küçük Ali
The Turkish tradition of shadow play called Karagöz and Hacivat was widespread throughout the Ottoman Empire and featured characters representing all of the major ethnic and social groups in that culture. It was performed by a single puppet master, who voiced all of the characters, and accompanied by a classical Ottoman music ensemble. Its origins are obscure, deriving perhaps from an older Egyptian tradition, or possibly from an Asian source.
During the 19th century these characters were adapted to the Greek language and culture, Karagöz and Hacivat becoming Karagiozis and Hadjiavatis with each of the characters assuming stereotypically Greek personalities. This tradition thrived throughout Greece after independence as popular entertainment for a largely adult audience, particularly before competition arose from television. The stories did, however, retain the period setting in the late years of the Ottoman Empire. Karagiozis theatre has undergone some revival in recent years, with the intended audience tends largely juvenile.
Shadow theater is still popular in many parts of Asia. Prahlad Acharya is one famous Indian magician who incorporates shadow theater into his work.
Shadow theatre has influenced some modern Japanese Manga. For example, the Shadow Girls ("A-ko" and "B-ko") in Revolutionary Girl Utena are portrayed entirely in silhouette, as though they were created by shadow puppets.
It also occurs occasionally in popular culture, for example in:
The children's television show Bear in the Big Blue House
The staging of the Rock Island tour from Jethro Tull
The short film Humdrum, released in 1998
The 2002 horror film Dracula: Pages from a Virgin's Diary
Entertainer Bablu Mallick used shadow play as his act during various TV appearances in the 1980s, including on Paul Daniels Magic Show.
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