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The
inordinate length of Ardja is due to these enormous
comic accretions; the drama itself could be developed
to its utmost extent in three hours.
The curtain plays a very important part in the entrance
of an Ardja dancer. As in Topeng, the shaking of the
curtain from within, the long hesitations, with drawals,
half-exits, and renewed reluctance to emerge are a powerful
element of suspense and excited anticipation. The difference
is only in the temper of the two forms. The agitation
of Topeng is replaced in Ardja by a long smooth, tentative
curtain-drawing, which is in keeping with the slow tempo
of the players and the play. Long before the curtain
even begins to be withdrawn we hear the servant's voice
singing behind
When
she has sufficiently prepared her entrance she emerges,
and winding leisurely about the stage repeatedly exhorts
her mistress to appear, for she has made all ready.
When the mistress has been exhorted long enough she
will in her turn begin singing behind the closed curtain
and all eyes will be fixed on it in anticipation of
her slow and fascinating entry, drawing it aside with
infinite deliberation, poised diagonally between its
two wings, and at last winding out to zigzag in wide
curves about the stage in contrary motion with her servant.
The two dancers contrive to fill all the space with
their dance, meeting and crossing and hastening away
again between phrases of song or speech, with arms and
fingers poised and ceaselessly turning, knees much bent
every line and curve of the body harmoniously balanced.
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