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The Malay martial art of pencak silat is an important source of traditional acting technique. During the colonial period and postcolonial modernization, Western models of theatre replaced traditional performance, and the physical technique of theatre was largely modeled on Western acting: the importance of the text ascended and the realistic representation of life predominated. This resulted in adopting psychological acting styles and neglecting the martial tradition as a significant resource for actor training. Experiments in revitalization undertaken by the author since the 1970s will be detailed. The rationale for the revival of pencak silat as actor training is based on its vital position in the productions of bangsawan (Malay Opera), purbawara (history play), and the experimental plays of Malaysia's National Laureate Noordin Hassan (the only playwright awarded this prestigous literary award for his contribution to Malay Literature), Syed Alwi, and Ismail Kassan.
A Malay theatre genre that uses the pan-Malay martial art pencak silat (hereafter, silat) extensively is bangsawan, an operatic theatre form, popular in Malaysia and Indonesia, which started in 1885 and reached its peak between 1920 and 1935 (see Tan 1993). According to Ghulam- Sarwar (1994: 14), bangsawan was a transitional genre. Older theatres were those like menohra and mak yong that were performed on improvised stages in the open air by performers who might be farmers during the day with the audience attending for free since a patron sponsored the event. In contrast, bangsawan pioneered modern elements: the proscenium arch's indoor theatre with its strict actor-audience division, salaried performers, and paying audiences. The flash and excitement that drew enthusiastic audiences to bangsawan was indebted in part to the strong movement and dramatic fight sequences, which were high points of the presentations (figure 1). The principal roles-hero and warriors-demanded actors proficient in silat. Famous actors like Pak Alias and Rahman B. (directors and troupe owners) and Mahmood June (a major film actor) were all proficient in silat. Adventures of real or imaginary heroes were a major part of the traditional bangsawan repertoire. Popular narratives include Admiral Bentan (Laksmana Bentan), The Admiral Was Murdered (Laksmana Mati Di Bunuh), and Admiral Hang Tuah (Laksmana Hang Tuah): each play required extensive displays of fighting skill. Silat was a core skill of pre-World War II Malaysian...