Wayang Topeng or Wayang Gedog

This wayang wong, human theater, with the topics of Jenggala Kingdom, where the players are wearing masks (Gedog comes from the word kedok = topeng, which is meant mask).

A true love story between Princess Candra Kirana of Kediri and Raden Panji Asmarabangun, the crown prince of Jenggala. Candra Kirana was incarnation of Dewi Ratih (goddess of love) while Panji was incarnation of Kamajaya (god of love). The story of Raden Panji and Candra Kirana was written in a poem called 'Smaradahana' the fire of love. At the happy ending, they got married and a son by the name Raja Putra was born. Panji Asmarabangun throned as a king of Jenggala with the names Sri Kameswara or Prabu Suryowiseso or Hino Kertapati.

Wayang topeng is still popular up to the present date. It is performed in a shorter period, in a special gathering, wedding parties, etc, entertaining the guests for about 20 to 30 minutes.
sumber : http://www.joglosemar.co.id/wayangtopeng.html

Wayang karucil or wayang klitik

Wayang karucil or wayang klitik

Wayang klitik image of Batara Guru

Wayang klitik figures occupy a middle ground between the figures of wayang golek and wayang kulit. They are constructed similarly to wayang kulit figures, but from thin pieces of wood instead of leather, and, like wayang kulit figures, are used as shadow puppets. A further similarity is that they are the same smaller size as wayang kulit figures. However, wood is more subject to breakage than leather. During battle scenes, wayang klitik figures often sustain considerable damage, much to the amusement of the public, but in a country in which before 1970 there were no adequate glues available, breakage generally meant an expensive, newly made figure. On this basis the wayang klitik figures, which are to appear in plays where they have to endure battle scenes, have leather arms. The name of these figures is onomotopaeic, from the sound klitik-klitik, that these figures make when worked by the dalang.
Wayang klitik figures come originally from eastern Java, where one still finds workshops turning them out. They are less costly to produce than wayang kulit figures.
The origin of the stories involved in these puppet plays comes from the kingdoms of eastern Java: Jenggala, Kediri and Majapahit. From Jenggala and Kediri come the stories of Raden Panji and Cindelaras, which tells of the adventures of a pair of village youngsters with their fighting cocks. The Damarwulan presents the stories of a hero (Damarwulan) from Majapahit. Damarwulan is a clever chap, who with courage, aptitude, intelligence and the assistance of his young lover Anjasmara, makes a surprise attack on the neighboring kingdom and brings down Minakjinggo, an Adipati (viceroy) of Blambangan and mighty enemy of Majapahit's beautiful queen Sri Ratu Kencanawungu. As a reward, Damarwulan is married to Kencanawungu and becomes king of Majapahit; he also takes Lady Anjasmara as a second wife. This story is full of love affairs and battles and is very popular with the public. The dalang is liable to incorporate the latest local gossip and quarrels and work them into the play as comedy.

sumber : http://en.wikipedia.org/wiki/Wayang

Wayang beber

Wayang beber

Wayang beber depiction of a battle

Wayang glass painting depiction of Bharatayudha battle

The wayang beber has strong similarities to narratives in the form of illustrated ballads that were common at annual fairs in medieval and early modern Europe. They have also been subject to the same fate—they have nearly vanished. Chinese visitors to Java during the 15th century described a storyteller or unrolled scrolls and told stories that made the audience laugh or cry. A few scrolls of images remain from those times, found today in museums. There are two sets, hand-painted on hand-made bark cloth, that are still owned by families who have inherited them from many generations ago, in Pacitan and Wonogiri, both villages in Central Java. Performances, mostly in small open-sided pavilions or auditoriums, take place according to the following pattern:
The dhalang (puppeteer, narrator) gives a sign, the small gamelan orchestra with drummer and a few knobbed gongs and a musician with a rebab (violin-like instrument held vertically) begins to play and the dhalang unrolls the first scroll of the story. Then, speaking and singing, he narrates the episode in more detail. In this manner, in the course of the evening he unrolls several scrolls one at a time. Each scene in the scrolls represents a story or part of a story. The content of the story typically stems from the Panji romances which are semi-historical legends set in the 12th-13th century East Javanese kingdoms of Jenggala, Daha and Kediri, and also in Bali.

sumber : http://en.wikipedia.org/wiki/Wayang