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"Tễu" is the most typical chracter |
Water puppet art might have appeared from the early time of Lý Dynasty (1010 - 1225) or earlier; people were only sure about the vestiges of water puppet that were recorded at many places. The first writing evidence about dancing water puppet that we could read was the stele tower Sùng Thiện Diện Linh which had been built in 1121 at Long Đọi Sơn Pagoda, Hà Nam Province. There was a paragraph writing: "Release the golden turtle heading three mountains on the intermitten waves. It exposed the veiny shell to reveal its four legs on the sluggish river, gazed on the bank and judged the immense firmament. The cliffs stood precariously and the music was preluded melodiously. The grotto's entrance was opened and the saints emerged. They all had a manner of the Celestial Palace, but not like the normal world. The fairy stretched her hands to present "Wind Back" song and winced as well as praised for the good fortune. Precious birds sang and danced in blocks and tender animals were eager by teams [...]". However, the residents living in Rạch xã Hồng Quang village, Nam Trực District, Nam Định Province supposed that making puppets in the traditional puppet had occurred since the 10th century. It has proved that water puppet art reached its climax in Lý Kings' days and was descended from this generation to the others, up to now.
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The stage for performing water puppet, also called "water communal house" was at the front of the village's temple where two large water communal houses still survived to these days: Thầy (Instructor) Pagoda (in Hà Tây) and Gióng Temple (in Sóc Sơn, Ha Noi) communal houses.
The puppets which are called "con trò" (stimulating objects) are whittled from the timber of old fig trees that arre still pliant and light. These stimulating objects after deformed will be soaked in water for a period of time in order to become water-resistible. After that, the artists will cover them with a layer of paint that is also known as "lacquering paint", a folksy covering paint that is never absorbent from water.
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Compared with the other types of this skin, Vietnamese puppets use water as a background which makes up the stage and hides the skills of performers. The audience cannot know what is happening under the water surface. The good thing of the artist creating this art is that he calculated the floating degree and the way the puppets could win the propulsive force of water so that the stimulating objects can act on the water lively. And that is one of the secrets of the guilds producing puppets. In the old days, the aged people could not impart this profession for their daughters as they would reveal the secrets after following their husbands. It is the reason why different guilds have their own parts of stimulating.
In addition, each puppet is considered as a work of folksy sculpture art. The face and clothes of the puppet has carried typical features of Vietnam along with them. They can reflect the war of founding and preserving the country of our forefathers during the glorious history with Two Misses Trưng Victry or historic Bạch Đằng combat or even just show a rural common life of people living here. The most typical chracter is Tễu with a plump body and an optimistic, mischievous smile. Normally, to begin the show, Tễu often appears humorously and does his duty as a naughty compere. Then the plot of the drama gradually happens.
In these years, the art of water puppet is now being investigated by scientists in order to be upgraded to have sn international stature. Many water puppet associations of Vietnam have participated in some international puppet dancing festivals and won a number of high prizes. We have caught the attention from plenty of audiences from many countries around the world so far. We hope that from those first encouraging bases, Vietnam can totally restore the art of water puppet that has been lost for many years.
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