In Myanmar, the marionette play was once the most popular art form, which was used as a medium to educate people in religion, history and culture (Doral & Griffiths,2000). In 18th  century, local’s modesty and etiquette forbade the depiction of intimate scenes on stage, but what human beings could not do in publics, wooden figures could do without prohibition, which made it even more popular (Doral & Griffiths,2000). However, when more and more entertainments have been imported for the Burmese to enjoy, they started losing their interests in the marionette plays. A journalist, Mann (2013), has once interviewed Ma Ma Naing, a local souvenir shopper, and found out that the most deep-rooted problem in Myanmar now is not lack of professional puppeteers, but audiences are not interested in the play anymore.

 

       Looking at the stage again, I cannot help myself sighing deeply for this declining traditional performing art. The world nowadays is market-orientated. Most theater’s plays that take romance relation, biography and science fiction as their main theme because they are the most attractive.

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

There is not even one taking their country’s stories or religious mythologies as reference to develop the script. Seeing the marionette play here is like a breathe of fresh air. The performance itself has not compromised with the world’s favor, it stands on its own ground remaining the original spirit in it. Although, as a traveler coming from the outside world, I do not fully understand the content expressed by the marionette, it creates a fantasy to draw the audiences’ desire in to explore more about what is happening on stage, no matter the content of the story or its inspiration. 

      To the older generation of Burmese, they might be bored about watching marionette play, but it does not mean that the value of this performing art has lost. Performing art should never be valued by popularity and profit making. The marionette play has stored the history of the country, religious myths and collective memories; no one should give it up easily. I would say the continuity of this performing art lays on the young generation, so it is important to consider to add a little more elements into the performance, for example, adding a interaction section for the audience to create a intimate bound with the marionette, which could help to hold the interest and passion of the youngers towards this performing art. For long, it could attract new groups of audiences and the play continues in the future. 

 

 

         As night falls, getting into a medieval design restaurant makes me curious. At the end of the wooden dinning table, there is a small stage. The size of the stage does not allow a live band to bring us a rock and roll performance, might be only two tiny little kids could step on it and dance. Everyone here has been attracted by this platform and wonder about what is coming next. Will there be a magician playing with fire? Or will there be a clown playing with trick’s bag? Welcome to Myanmar. You would never get bored because there are different kinds of performing arts surrounding us, no matter in any occasions.