The bottom edge of the backdrop has a translucent screen which conceals the working puppeteer, and a sight screen stands some 50 cm. to the front of the backdrop. The puppeteer holds a puppet's body pole in his left hand and manipulates rods connected to its hands with the right hand. The movements mimic dance gestures of the classical dance-drama. A musical ensemble and singer sit back-stage. Speaking parts are by the working puppeteer. hun lakorn lek is a recent revival of an art form which had actually died out. Master Puppeteer re-invented a full-figure puppet show with much development. Family members now stage puppets which have sophisticated (and secret) joints, capable of lifelike gestures such as pointing fingers and articulated waist. The puppets are fully dressed for their roles exactly representing human actors. In traditional Nang Talung, the whole show is presented by one man, the Master Puppeteer, who is honored with the title "nang" in front of his personal name. There is a musical accompaniment, using the folk ensemble of oboe, drums, gongs and clappers. This art form has changed through the ages and according to regional preferences. In the North-eastern Region of Thailand, it has become known as nang pramothai in which many puppeteers take part at once. Nang Talung, indigenous of the Southern Region, has undergone some changes such as incorporating western musical instruments and stage effects. .
Cambodia.
The "Sbek Thom" with its very large and inarticulate leather pieces, between 1 to 2 meters high, this theatre can only be staged in a large place as it requires a 12 meter screen. The plays were at the beginning, only for special occasions such as the water festival or the king's birthday. It represents the figures of the Reamaker, the Khmer Ramayana, and legendary saga, holy to the Hindus. A full representation lasts for about 10 hours. The music, poems, songs and dances are unchangeable; musicians, story tellers, singers, dancers, and puppeteers are called "masters.