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Parker Jackson
Parker Jackson

Ramayana Full Story Tagalog Version Of Dancel [PATCHED]

The Buddhist version of Ramayana is known as Dasarata Jataka. The story is more or less the same. A major difference between the Sanskrit Ramayana and the Buddhist version of Ramayana is that Rama, Sita and Lakshaman were sent by Dasaratha to live in the forest to protect them from his ambitious third wife. This version of the Ramayana has no mention of Sita's abduction.

Ramayana Full Story Tagalog Version Of Dancel

The Thai version of the Ramayana is called Ramakien. Ramakein existed in Thai oral culture until King Rama I penned it. There are several differences in the various adaptations of the epic majorly because of the different cultures. Clothes, weapons, topography and elements of nature differ due to the difference of culture and places where the story takes place.

The Phra Lak Phra Ram is considered to be the national epic by the people of Lao. Taken from the Sanskrit Ramayana, the version has been adapted according to the culture and tradition of Laos. It is considered as a Jataka story, that is the story of a previous life of Lord Buddha.

In Ramayana's Malay version, which is known as Hikayat Seri Rama, Lakshaman's character is given more importance than the others. The Malay writers have produced versions of the story where Lakshaman is shown as a more central character rather than Rama.

So deep is this famous story, we could spend hours studying it. Like many Hindu tales, it comes with a full list of characters. Since most of these characters play side roles, we're only going to give names to a few of the main players. As we focus on these characters there are two things we need to remember:

In the story, Puteri Saadong is abducted by the king of Siam (KingNarai) and enters his entourage of palace ladies, but after she cures KingNarai's skin disease, she is allowed to go back to Kelantan. Sherealizes that her husband has already taken a new wife and thereupon, in thisversion, Putri Saadong has her husband killed. While Azanin played the titlerole, Tharuat Ismail Bakti played her spouse (Tengku Abdullah), and architectNik Malik Zainal Abidin played the king of Siam. Two chorus groups--pahlawan(warriors) and dayang-dayang (court maidens)--filled out the cast.Suasana's productions use a court jester, here played by Jamaludin Mat,who fit the character well. Puteri Saadong played at City Hall Auditorium inKuala Lumpur and was shown in Australia and Hong Kong at arts festivals aswell as on television.

Critic Krishen Jit (in Rowland 2003: 203) wrote in his New SundayTimes column "The Uncommon Position" that the urge to tell anancient story in a modern way to a modern audience was the most impressivequality of Suasana's dance-drama work: "From Dayang Sari to CempakaEmas, staged in Kuala Lumpur's Dewan Bandaraya Auditorium thisSeptember, Suasana has mined narrative wealth with painstaking consistency.Suasana's feminist stance is its trademark and a vital sign of itsmodern sensibility." The formal strategies and resources of Cempaka Emaswere mostly geared toward delivering an enjoyable story by way of dance,music, song, stage effects, and costumes. The story evolved step by step, ina straight narrative. This linear storytelling explains why Cempaka Emas,like its predecessors, was so accessible to a contemporary audience, whereasversions of the same tale in a traditional theatre like mak yong move morerandomly and are harder to grasp. Herein also lies the secret of profoundchange from tradition to modernity, convened by Suasana. The traditional makyong performance, which can last from nine in the evening to dawn or evenmany nights for a single story, was drastically reduced to Suasana'stwo-hour narrative. By using elaborate stage design and spectacular (andoccasionally surprising) effects via amplified sound, lighting, and dry ice,Suasana appealed to the modern sensibility for technological delights.

Ever since Jentayu in 1980, Suasana has strenuously molded thetraditional musical ensemble to enhance the dramatic phasing of the modernperformance. Though present-day practitioners of traditional theatres likemak yong have largely forgotten the dances that depicted dramatic episodes, achoreographer like Azanin, working with the exclusive mak yong dancevocabulary, has taken on the unenviable task of inventing choreography thatis at once dramatic and yet suggestive of the traditional dance tone andambience. Suasana thereby created a substantial following, because of itsconsistency in presenting polished performance, a rare quality in Malaysiantheatre (see Rowland 2003: 206). Scholar Solehah Ishak (1990: 20) found thatSuasana under Azanin showed how costumes, lighting, and characterization indancedrama successfully served the storytelling.

Wayang, the puppet theater, is a major element in both Javanese and Balinese society, important both as an integral part of many rituals and as a repository of tradition with overtones of ancestor-worship. In Bali, wayang is perfomed exclusively with flat leather puppets (kulit). Javanese variants exist with puppets of flat wood (klitik), round wood (golek), and with no puppets at all, in an extremely rare moribund tradition (beber) in which the scenes are painted on a long scroll which unrolls as the story is recited. The major Javanese form, however, is wayang kulit.. Wayang is accompanied by a full gamelan, in Bali by four gender. The literature is largely drawn from the Mahabharata and the Ramayana, less popular being the indigenous culture-hero epics. In addition on special occasions (in Bali only), the story of Tjalanarong is performed. Balinese puppets are more realistic than the Javanese, which have become highly stylized. In fact, the Balinese puppets closely resemble the figures carved in bas-relief on old Hindu temples of East Java (McPhee 1936:3). The Javanese wayang performance is more formal than that of Bali, lasting through the night, which is divided into three periods, each period having a corresponding type of action and musical mode. The Balinese wayang performance differs greatly in length and structure from night to night because it is ". . . determined by the dalang, according to wages, enthusiasm of the audience, or the wish of the person who has engaged him." (McPhee 1936:3)

Among the principal works and stories in the Mahabharata are the Bhagavad Gita (added between 200 BCE and 200 CE which brought Krishna to prominence), the story of Damayanti, an abbreviated version of the Ramayana (narrates the struggle of the divine prince Rama to rescue his wife Sita from the demon king Ravana), and the story of Rsyasringa, often considered as works in their own right.


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