28 Puppets Continue....

Burmese Clown
Parts played - (1) The clown (or) The Jesters
(2) A good companion (or) a servant to Burmese Prince (or) Princess
Description
It’s called with many names.
Than-cho, one who speak sweet.
Than-pyet, one who speak Jokes
Those are also called Lu-shwin-daw, one who amuses others as funny face fits its role.

Votaress or Medium - Nat-Kadaw
Parts Played - The Votaress or Medium (Nat Kadaw) Dance
Description
This puppet can be used for both Votaress and handmaiden, for they are almost identical with the exception of few changes of costumes.
The Votaress puppet is always dressed in red, the favorite color of Nats, her hair flows down, and a band of red silk circles her brow, two short ends fluttering over the ears. A long silk scarf is tied around her torso, knotted on her bosom.
Votaress is a fascinating part of the ethnic scene of Burma, a medium possessing of such a beautiful ‘butterfly’ or soul that a Nat had taken her for his wife. She may have a mortal husband but her first duty is of course towards her spiritual spouse, who will through her prophecy the future of her clients.
This is one of the most difficult Marionettes to handle since she usually has the most strings, up to over thirty. One puppeteer usually handle the Princess, he can also manipulate the Votaress and Handmaiden.

The Handmaiden (Apyo-daw)
Parts Played - The Handmaiden (Apyo-daw) Dance
Description
This puppet can be used for both Votaress and handmaiden, for they are almost identical with the exception of few changes of costumes.
The maiden doesn’t wear red, her hair flowing down. There are no head bands (or) scarves across the bosom.
The handmaiden dance is categorized into twelve parts of that must be mastered by both human dancer and puppeteer. This is also one of the ritual dances of the live drama, danced by a veteran puppeteer.
This is one of the most difficult Marionettes to handle since she usually has the most strings, up to over thirty. One puppeteer usually handle the Princess, he can also manipulate the Votaress and Handmaiden.

Page Boy (Thu-Nay-Daw)
Parts played - (1) Son of Burmese prince
(2) Royal Page Boy dance (or) Thu-Nay-Daw.
Description
Page boys were young sons of lesser princes and nobles, who up to the age of 14, served as general errand boys in the palace. Being allowed access to the ladies quarter, they were most useful in carrying messages and love-letters, one of their duties was to run ahead of royal procession, to make sure all was in order, and to point out the seating plan of the nobles. The page boy dance is based on this act and the marionettes, smaller than normal.

Bramin Astrologer (Ponna)
Parts played- (1) Astrologer, interpreters of dreams and Omins
(2) Master of ceremony for auspicious
(3) In drama, they are much needed villain.
The Royal edit of the early 19th century set the mandatory number of marionettes at 36, their identities are not known to have been listed. In time, however, the accepted number less to 28, commonly known to symbolize the 28 ‘physical bodies or element’ that inhabit 31 ‘towers of existence’. In some plays additional puppets are needed and added without qualms.
The rest of the puppets, such as the Old Couple, Villainess, Queen etc., are optional, but it is normal for a troop to have all on hand, and even two (or) three sets of the main characters are kept.

Zaw Gyi (Alchemist)
Parts played - (1) The last participant in Himavunta scene
(2) One of the good characters found in many folk tales
(3) The alchemist
(4) The magician
Description
A pointed chin, a funny moustache and a bushy beard plus a slight smile, convey a quizzical look of Zaw-Gyi that readily wins in love of every one.
He is dressed in red, wearing along and flaring robe trimmed with gold, a red cap on his head, red slippers (not re here). Trousers under a tucked-up Pasoe (not here).
Unlike the religious hermit, this magical and mythical figure is believed to enjoy an ascetic life in the wood. He would pass time busy with his philosopher’s stone, capable of making many miracles with it. He would turn a stone into gold or a dead to live, he would relieved his loneliness by playing with nymphs created, with the touch of his magic stone or staff to fruits of a certain vine.
He would think of saving good folk in troubles, he would seek and collect herbs and grind medical concoction, then he would offer these to the helpless who are in need of it.
His red stuff is magic as well! Prodding with it, he might turn one to anything as he wishes. He could fly through air or pass through earth. He could transform himself into another form. There’ll be no end telling about his mysterious powers.
His dance steps and acrobatic leaps are fast and complicated. Any puppeteer who handles this marionette well is regarded as a master of art, able to handle any puppet. Thus to be called a good Zaw-handler is highest praise for a puppeteer.

Demon (or) Oger (Belu)
Nan Belu And Taw Belu (City Ogre And Jungle Ogre)
Parts played - (1) Belus play in Himavunta scene
(2) In many or 447 Jataka Tales Belus plays villainous role
Description
The ogre dance is mostly a show of evil power and strength, and the ominous music combine with stalking steps, creates a most chilling mood.
The dance is accompanied by a characteristic drum beats known as “ka-roung”. The music would arouse and exits heart beats in the audience.
Another demon would appear on the opposite end, performing the ritual. Later finding rivals, they would stage a fight and make chase. The music is now louder and quicker representing a decisive final stage. One would mount another and even gets locked for a time hanging in the air.
And at the end, each would enter with a somersault to the back stage.
The city ogre’s headdress is topped with a jeweled spike, the jungle ogre’s with a plumed crest. The city ogre will of course stand on the right side of his less noble companion and they are carrying short sward (Than-lyet), one of the five items of the Burmese king’s regalia.
Both Puppets are identical in face, build and decorations. Protruding snout provided with fangs and grinning teeth and starry eyes convey a sardonic expression. This would surely attract and fascinates clever youngsters among the audience, while timid one would be sacred.