9. Which of the following is NOT true about Peking Opera?
a. The highest form of performance is to put beauty in every inotion
b. The four skills of Peking Opera not separate and combined in a single performance
c. Much attention is paid to tradition in the art form
d. Conventions of movements are used to signal particular actions to the audience.
10. All are responsibilities of a dalang in a wayang kulit performance EXCEPT .
a. He manipulates the puppet
b. He sings/ speaks the parts of the characters
c. He taps out signals to the orchestra one.
d. He accompany stage action, entrance, exits and fight scenes.
a. The highest form of performance is to put beauty in every inotion
b. The four skills of Peking Opera not separate and combined in a single performance
c. Much attention is paid to tradition in the art form
d. Conventions of movements are used to signal particular actions to the audience.
10. All are responsibilities of a dalang in a wayang kulit performance EXCEPT .
a. He manipulates the puppet
b. He sings/ speaks the parts of the characters
c. He taps out signals to the orchestra one.
d. He accompany stage action, entrance, exits and fight scenes.
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9. Which of the following is NOT true about Peking Opera?
a. The highest form of performance is to put beauty in every motion.
b. The four skills of Peking Opera not separate and combined in a single performance.
c. Much attention is paid to tradition in the art form.
d. Conventions of movements are used to signal particular actions to the audience.
10. All are responsibilities of a dalang in a wayang kulit performance EXCEPT.
a. He manipulates the puppet
b. He sings/ speaks the parts of the characters
c. He taps out signals to the orchestra one.
d. He accompany stage action, entrance, exits and fight scenes.
b. The four skills of Peking Opera not separate and combined in a single performance.
b. He sings/ speaks the parts of the characters
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