THE CULTURAL SETTING THE DEVELOPMENT OF THEATRE GENRES TRADITIONS OF THEATREĮXTENT AND DISTRIBUTION THEATRE AND THE SOCIAL CONTRACT Finally, I wish to thank the artists of the more than two hundred theatre troupes I visited who answered my many questions with unfailing patience and good nature. This book is the result of a year's research in Southeast Asia (1963-4) and a summer of writing (1966) on grants from Michigan State University-International Programs/Ford Foundation, for which support I am most appreciative. McLaughlin for her understanding and sound editorial advice. Crown for her encouragement during the writing of the manuscript, to the Asian Literature Program of The Asia Society for its sponsorship and help in arranging the details of publication, and to Mrs. Judith Becker kindly read parts of the manuscript. (figures 4, 5, 8, 12, 54, 62) Public Relations Department, Thailand (figures 7, 9, 25, 47, 50, 53) and Embassy of Viet Nam, Washington, D.C. Peacock (figures 10, 13,41) Philippine Tourist and Travel Association, Inc. Rashid Ismail (figures 37, 38, 67, 68): Ministry of Education, Laos (figure 43) Malaysian Information Service (figures 36, 46, by Wong Swee Lin and Hong Weng Him) Information Services, Michigan State University (figures 16, 28, 29, 30, 31, 32, 33, 34, 52, 55) James L. For photographs I am greatly indebted to a number of persons and institutions including the Royal School of Fine Arts, Cambodia (figure 23) Embassy of Indonesia, Washington, D.C. USIS officers and employees facilitated my field work. Government officials in ministries of Information, Culture, and Education in every country I visited gave generously of their time and assistance. Nguyen Phouc Thien in Vietnam, all of whom offered unstinting personal help. Particular thanks are due to Father Zoetmulder, Professor Ibrahim Alfian, and Mr. Preface I would like to express my sincere gratitude to the many people who assisted in the preparation of this book. More recent information is presented in footnotes.
The material in this book describes theatre as it appeared to me in 1963-4. Words are spelled as they are in the various countries therefore variant spellings may appear in different parts of the text. The first time a non-English word or term is used it appears in italics thereafter it does not.
They are designed to simplify-and should be accepted in this light. I have included several maps and charts in the hope that they would clarify some of the more complex relations among theatre forms. About half of all the theatre activity in Southeast Asia takes place in Indonesia the amount of material devoted to Indonesian theatre reflects this fact. In determining how important a genre is, I have taken into account its artistic value, its social and religious dimensions, and its popularity. Generally speaking, the amount of space devoted to a theatre genre reflects its importance today. research which will fill in details not presently known.I have sketched in only the major outlines hopefully others will be stimulated to conduct more extensive Its four parts correspond to the four perspectives considered: origins and background theatre as art theatre as a social institution and theatre as communication. The book is organized on a topical rather than a country-tocountry basis, so the reader will be able to see more clearly the interrelations among theatre forms. Important writings in European languages have been consulted for background and historical materials, but the largest part of the book is based on personal observations and interviews. My aim in wrItIng this book is to present to the interested Western reader some of the basic facts about theatre in Southeast Asia as it exists and functions today. HARVARD UNIVERSITY PRESS CAMBRIDGE, MASSACHUSETTSġ967 by the President and Fellows of Harvard College All rights reserved Second Printing, 1974 ISBN 7-7 Library of Congress Catalog Card Number 67-14338 Printed in the United States of America
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