Битеф

pobuna protiv

nebeskog * y-v ~тљ » Pobuna protiv tlyUni nebesk °z dvora« je adaptacija prvih sedam poglavlja slavnog kineskog romana »Hodocasce na Zapad «. Klasicni mit opisuje potane heroja Sun-Vukonga, kralja majmuna, a barbi protiv pokusaja prevara i ropstva. Velika je radost Sun-Vukonga: и Istocnom moru nasao je carobni stapic koji ce mu podariti krila kao letecem tigru. Da bi proslavili veliki uspeh, majmuni na njegovom Brdu cveca i voca pripremaju vojne vezbe. Nebeskî car, koji se smatra vrhovnim gospodarem svega, piasi se da Sun-Vukong ne postuje zakone i da priprema vojni pohod na njega, vrhovnog gospodara. Carev lukavi dvorjanin Tajbaj Ginhing posluzi se prevarom i dovede Sun- Vukonga na nebo i pregiasi ga konjusarem, и numeri da ga onemoguci. Sun prozre njegovo lukavstvo i borbom onesposobi nebeske dvorjane Gìancenga i Giulinga i vrati se na Brdo cveca i vaca. Tu se na nebu pregiasi svecem da bi se suprotstavio caru silniku. Car ponovo posalje dvorjanina Tajbaj Ginhinga da prevarom dovede Suna и nebeski dvor. Tu ga zadrzi da cuva carev vocnjak. Sun Vukong prozre njegovo lukavstvo i zadirkuje stara bosonogu vilu и vreme svecanosti bresaka. Tada zbuni zvanice i popije napitak koji daje dug zivot, pripremljen za Nebeskog cara. Ojacan, Sun se pobuni protiv nebeskih zakona, uzbuni nebesni dvor i vrati se na Brdo cveca i voca. Nebeski car se silno naljuti i posalje svoju nebesku armiju da zarobi Suna. Sun- Vukong se ne uplasi mocnih neprijatelja krene и boj, koji ne napusta sve dok ne razrusi carev nebeski dvor. Od tada sa svojim majmunima uziva и slobodnom i srecnom zivotu.

lutkarskì ansambl iz pekinga Pekinski lutkarski ansamhl osnovan je 1955. godine, otkada je izveo vise od 300 lutkarskih predstava. U repertoaru se isticu » Spvetna zena«, »Pobuna protiv nebeskog dvora«, »Gospodin Dongguo«, »Kukmikanje и ponoc«, »Crveni cvet и siepi«, »Volim Kapiju nebeskog mora«. Grupa-ansambl

snima i lutkarske filmove : »Kineska umetnost lutkarstva « i »Zvoncic«. Pekinski umetnid su gostovali и Evropi, Aziji i Africi tokom 1956. i 1965. godine. Ansambl bvoji vise od 40 clanova. Cetvrtinu cine veterani lutkarskih vestina, koji danas rade kao reziseri, dramaturzi i nastavnici mladih lutkara. Predstave ovog ansambla posvecene su prvenstveno publiai Pekinga. Pozoriste je medutim cest gost i drugih lutkarskih pozornica и Kini.

puppetry in china Puppet shows have a history of more than two thousand years in China, and were already popular between the sventh and thirteenth century in the Tang and Sung Dynasties. It is said that after watching a puppet show the Tang Emperor Hsuan-tsung (712 — 756) wrote the following verse: An old man carved from wood with strings attached Has wrinkled skin and white hair true to life. Soon the dance ends and all is still again : Such is the life of man, a fleeting dream. This shows that by his time puppetry had already attained a high level of skill. There were many varieties of puppet shows in ancient China, but during the past few centuries this art gradually declined, its repertoire diminishing, and puppeteers suffered privations, leading a vagrant life. It was only after the founding of New China in 1949, when our Party and our government carried out Chairman Mao's directives to let a hundred flowers bloom and new things emerge from the old that this art was resucitated. In many provinces and cities, new puppet companies were formed and puppet theatres built. Frequent puppet festivals and exhibitions were organized, and training classes were set up in different localities. Thus today a new generation of puppet artists has emerged and this ancient art has taken on a new lease of life. Chinese puppets include hand puppets, string puppets and rod puppets. Rod puppets are usually two to three high, their faces about the size of a four-year-old child's. The puppeteer holds up the wooden bar under the figure's head with one hand, and with the other manipulates the two thin iron rods controlling the movements of its hands. The feet are not usually shown; hut when they are, another operator is necessary. This was the case, for example, when the Peking Puppet Troupe performed the drama Red Plovers on the Snowy Steppe about an Inner Mongolian giri and her younger brother, caught in a blizzard while herding sheep, who discover that the commune's veterinary surgeon is committing sabotage. They battle against the snowstorm sod the class enermy at the same time, ahd the little boy loses his felt boots so that his