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Anyeint is a dance form closely resembling popular
theatre. The name of this form is drawn from a Myanmar word meaning
“gentle,” which is a fitting description. Although its origins are
somewhat unclear, Anyeint is popular in Myanmar today, and is frequently
encountered as one of the entertainments provided in connection with the
numerous festivals which are an important part in Myanmar life. One of
the basic concepts of Myanmar festivals is that the festivals themselves
re offerings of good will and pleasure to the community. In this way a
performance by an Anyeint troupe may figure in both religious and
secular celebrations. At times, as for example in the case of a small
family festival such as the cradling of a new baby to which the
neighbourhood is invited, the Anyeint may be the only entertainment
offered.
The Anyeint performance as it is known today consists of two distinct
yet complimentary elements. These are the singing and dancing of the
Anyeint herself and the dialogue and slapstick of the clowns, Lu bye’.
There are 2 Minthamee (the female performer) included in Anyeint. One is
the "Shay Dwe Minthamee" meaning the first female performer to dance and
the "Naut Dwe Minthamee" meaning the last one or main Minthamee. There
are at least 4 clowns who perform together with the performers. They
recite poems and talk after each dance the Minthamee has performed, to
give her a break and to give the audience some laughter.
There is a loose alternation of the formal singing and dancing of the
Anyeint with the comic interludes of the clowns. Some Anyeint troupes
are large and elaborate, Such troupes may also present formal, dramatic
scenes mixed with song and dances, and may at times, follow the pattern
of the traditional Pwe theatricals by staging an interlude, hnapa tawa,
in which the entire cast appears for a series of solo and group dances
interspersed with continuous dialogue and commentary by the clowns.
The style of Anyeint dancing is closely related to other forms of
Myanmar dance. The same basic postures are used. The body is slightly
arched while the knees are partially bent. The wrists are held close to
the waist with the elbows back. From this stylized position, which is an
exaggerated imitation of Myanmar puppets, the Anyeint moves with small
steps, sometimes deftly kicking her train to the side. As the music
intensifies, the movements may include vigorous leaps and even acrobatic
turns which always stop at the end of the musical phrase as signalled by
the beat of the clapper. But even in the most vigorous and rapid
movements, the Anyeint style retains the gentle, graceful quality
characterized by the name.
In modern times Anyeint performances are most frequently encountered
with the Anyeint in the company of a troupe of clowns and the
performance accompanied by the full Hsaing ensemble. In older and more
classical styles, two Anyeint dancers may appear on stage accompanied by
the Myanmar harp or the xylophone, while another musician keeps time
with the bell and clappers. In such performances the emphasis is placed
on the more formal elements of the dance itself. This small group of
dancers and accompanists is considerably less theatrical than most of
the troupes seen in Myanmar today.
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