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Sbek Poar (Coloured Leather Theatre) |
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History and background of Court Dance Dance Costumes & Dance Characters
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Sbek poar (coloured puppet theatre) is much similar in format to nang sbek thom and stands in between nang sbek thom and nang sbek toch therefore it's the medium sized leather puppet theatre. Not much is known about this art form. It only survives mostly in the memories of older generation and in a manuscript of a Khmer coloured shadow theatre. There was only twenty six coloured puppets that have survived the war and now are in the Department of Fine Arts and Performing Arts in Phnom Penh. In contrast with nang sbek thom and nang sbek toch that would be performed at night lit by torches, sbek poar was performed during day time. With some studies gone into this art form some have found that on both sides of some pieces consisting of pictures of only one character, there is only one action that is depicted. Some others seems to have pictures of different characters on both sides. As for figures of each character, both male and female characters are fatter than the figures of nang sbek thom and nang sbek toch. Gestures from sbek poar characters seem to have good manners, to be modest and energetic. Most gestures appear to be life like making them look very alive and subtle as well as graceful. Decoration of sbek poar for both male and female characters tended to differ from nang sbek thom because, nang sbek thom decoration of jewels and garments appear to completely imitate that of Khmer Classical Dance. Most of the decoration of sbek poar also appears to imitate ancient Khmer bas-reliefs but it shows more tendencies depending on decoration of Apsara of Angkor style for examples both male and female have naked torsos or wear close-fitting scarf or sash like outfits with light-skin colour, crowns, wreath colours worn around the neck and long necklaces with beads. Some characters wear sang-var (decorative ropes over the shoulders). While others wear long golden jewel strings or chains of gold over the shoulders with strings hanging down to the waist. On their arms they mostly wear upper armlets, fore armlets, and various wristlets. Their waists are adorned with be-jewelled belts securing skirts and kilts that have pleats at the front or the sides. The skirts consist of various kinds of beautiful motifs what looks to be like ikat patterns that flow down to the edges of the hem. The coloured puppets where created in the Royal Palace workshops in the 20th century and probably by court artisans that wouldn't normally create or express such quality which was quite rare at that time. Every generation of Khmer rulers have attended and preserve his own national cultural-heritage. Stories and repertoires of sbek poar still remains vague such as aged teachers of Royal Court Dance, Mrs Chea Samy and to other former students of Royal Court Dance such as Mrs. Chea Khan, Em They, Chum-Heoun, Na Ton and Sim Motha, etc... the search for the repertoires of sbek poar. Mrs. Chum-Hoeun suggested that one panel of sbek poar, which consists of a depiction of two male characters in movement of sitting and having a conversation while another male character in the panel is standing and secretly listening to the two men talking, a similar scene is from mural of the Reamker in the grounds of the Silver Pagoda. However more reasons why it differs from the Reamker because, Reamker is full of characters of yeak or yaksa (giants or ogres) and svar (monkeys). There are no characters of monkeys or giants found at all or had not survived the war. Although more reasons why it differs from each other, the form of sbek poar is similar to the form of shadow theatre, or sbek toch and to the form of Classical Khmer Dance as Mrs. Em They suggested. Music to accompany sbek poar would be the small pin-peat orchestra, sometimes chhing is used in vong pleng pin-peat toch. Also incorporates melodies and musical styles from that of the mohori orchestra. |
