VI
EN
Water puppetry, a charming and captivating export specialty.
The resounding sound of trumpets and drums, the melodious singing peeking through the thin mist amidst the shimmering surface of the crescent-shaped pond, the soulful puppets gliding and appearing and disappearing beneath the curved roof of the pavilion. Behind the sturdy pillars of the pavilion, a cultural image emerges, a vibrant embodiment of the literary voice of Northern Vietnam, of the legendary breath rooted in folklore and folk history, tinged with a touch of fantasy, yet never detached from the human consciousness.
Perhaps, alongside pho, water puppetry deserves to be considered a rich and flavorful export specialty. We have a whole range of stages embodying the spirit of folk performances, but it can be affirmed that, from an artistic perspective, water puppetry is a unique synthesis of folk art and traditional techniques.
Water puppetry is a unique blend of folk art and traditional techniques.
On the water stage, wooden puppets, a unique creation, use the inherently sturdy material of wood to recreate the graceful fluidity of culture—a culture distilled from the original flavors of life in the villages of Northern Vietnam, yet also possessing literary qualities, interwoven with the structure of proverbs, folk songs, and traditional melodies characteristic of the craft villages. The literary aspect of water puppetry is comprehensive, expansive, and free from the constraints of a single poetic form. The puppets, painted in red and gold, are simple yet beautiful and approachable, not overly lofty or distant.
When discussing folk performance genres, scripts, literary language, and art reflecting inner feelings through vocal performance and manipulation are highly valued and require rigorous training. However, in water puppetry, what attracts the audience is the physical actions of the puppets. The puppets stand in the center, becoming an indirect element conveying the connection between people. Therefore, water puppetry disregards physical body movements, but demands a skillful and ingenious intermediary mode of expression (the puppets).
In water puppetry, what attracts the audience is precisely the physical performance of the puppets.
Humanity is expressed more metaphorically, as all objects are dematerialized, taking on the role of regulating their natural rhythm. Even when more developed, incorporating literary intonation, it is the puppets' outward actions that hold the soul of the entire performance. While language adds color to this genre, the essential element remains the relationship between the artist (expressive) and the puppets (means of expression). It is a perfect combination of human imagination and inanimate objects that function as if they were real.
At the Thang Long Water Puppet Theatre (Hanoi), welcoming both domestic and international visitors, the water puppet stage unfolds visual narratives crafted by the keen perception of human beings. When all scripts are abandoned, all words are simplified, making room for the rich imagination of both performers and viewers, it inadvertently becomes the most ideal theatrical form, returning the entire experience to the active participation of each audience member.
Therefore, water puppetry is not only a unique feature of the communities in Northern Vietnam behind the bamboo hedges of their villages, but it has also been skillfully adapted to the diverse cultures of many ethnic groups across different regions. By streamlining the intricate script and language, it becomes clear that the content conveyed through visual language is more universal than verbal interpretation, reaching further to diverse global identities.
However, the most notable surviving example of water puppetry today dates back to the reign of King Ly Nhan Tong in 1121, inscribed on the Sung Thien Dien Linh stele at Long Doi Pagoda, Doi Son commune, Duy Tien district, Ha Nam province. The stele records that the people performed "rope climbing and puppetry" to celebrate the King's birthday. Therefore, it is likely that in the past, rope climbing and puppetry were often performed together. Perhaps rope climbing is the progenitor of modern circus arts.
The essence of water puppetry
The common ground between circus and puppetry lies in their strangeness, their unconventionality, and their captivating nature that draws the audience in. The puppets move, dance, and sing on the water's surface, their movements inexplicable to the viewers. Amidst the vast expanse of water, a sense of wonder unfolds, layered within a veil of illusion.
The thrill lies in its unexpected appearance, defying the audience's judgment and imagination. The paradoxical nature is precisely what makes it unique and extraordinary. On the circus stage, performers can balance on tightropes, perform countless transformations... these paradoxical elements, blended in these two art forms, act as a springboard for exhilaration, stimulating curiosity and prompting exploration of seemingly inexplicable phenomena.
The common ground between circus and puppetry lies in their strangeness, their unconventionality, and the elements that draw the audience into their performance.
The joy of serendipity in water puppetry, expressed through the audience's laughter and delight, ultimately culminates in the success of any performance genre: the emotions felt in the audience. The essence of that laughter and delight lies in the beauty of the viewers' exuberance, harmoniously blended with the lively spirit of water puppetry. This, in essence, is the beauty of folk theatrical art, never lacking in aesthetic balance and harmony in composition, lines, sounds, and rhythm, while still retaining the full flavor of joy in life.
"Hey everyone!"
Thang Long land, a thousand years of history.
For generations, this ancient capital has been preserved.
We celebrate today with joy.
"Drums beat, flags unfurled, fluttering across the sky..."
Uncle Teu – the initiator, the teacher, a crucial figure who guides each audience member into the enchanting world of water puppetry. Why not a female Teu, a sister Teu... but a male Teu? Puppet sculpture originated from the art of carving, crafted by hand, with the creative minds and thinking of those who led the cultural space of the villages in the Red River Delta. The carving of village communal houses and the creation of water puppets share a common principle in painting, reflecting the aesthetic sensibilities of a free-spirited, strong, square, rustic yet incredibly lively and refined male.
Uncle Teu - the initiator, the teacher, a key figure - takes the hand and foot of each audience member, leading them into the enchanting world of water puppetry.
The masculine aspect in Vietnamese water puppetry is clearly expressed, particularly in the "secrecy" of the craft and the secretive nature of its traditions. The role of men in water puppetry is built upon the cultural life of the village community, a unique creation of the hardworking male farmers. The shared values and destiny flow along the cultural stream of the essence of the men of the Red River Delta, intertwined with the soul of the land, the water, the rice, and the village. From this natural and social foundation, a system of values—Water, Land, Village, People—is created, representing the culture of Heaven, Earth, and Human Harmony. Without these foundations, Vietnamese water puppetry would be impossible.
The essence of water puppetry, besides the puppets and performance techniques, lies in the presence of sound. The sound in water puppetry is a combination of folk music, folk songs, and folk dances. In its early days, only percussion instruments existed. The sounds of drums and gongs in folk traditions were a harmonious connection between the sounds of heaven and earth, the sounds of marching troops, and community gatherings… Now, in folk performances, these instruments have been modernized and enhanced with a variety of drums – large drums, small drums, rice drums, wooden clappers, cymbals, and gongs – creating layers upon layers of sounds that blend together, vibrating the water's surface and captivating the auditory senses of both performers and viewers.
Later, when incorporating Chèo (traditional Vietnamese opera) into its development, along with music, actors with good vocal tones were added to convey the characters' teachings through Chèo melodies. Music in puppetry is a way to thoroughly express the thoughts and feelings of the inanimate puppets, which sometimes even dialogue cannot fully convey. Music also connects the performances, linking the scenes together. At times intense, at times gentle, it guides the audience deep into the hidden values of this unique folk art.
The skillful hands of artisans behind the curtain.
Water puppetry is not confined to a single framework or definition. It's like the breath of the countryside, like the gentle laughter during harvest season. The simple yet vibrant wooden puppets are not just figures, but stories, fragments of memories that each puppeteer has imbued and lived with. In every movement of the puppets, there is the echo of the land, the rhythm of the village, the gaze of the farmers who still await a bountiful harvest.
Each time the water puppets begin to speak, it's as if ancient memories are stirred up, slowly, simply, yet profoundly. Without ostentation or pretension, water puppetry flows naturally like an underground stream, spreading and permeating deeply, leaving a rustic yet indelible mark on the minds of viewers. Amidst the hustle and bustle of the modern age, water puppetry serves as a familiar bridge, allowing us to return and listen to the sounds of culture, of a stream that has existed for generations, silently and persistently.
