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The Sbek Thom is a Khmer shadow theatre featuring two-meter high， and non-articulated puppets made of leather openwork. Dating from before the Angkorian period， the Sbek Thom， along with the royal ballet and mask theatre， is considered sacred. Performances， dedicated to the divinities， could only take place on specific occasions， three or four times a year， such as the Khmer New Year， the King’s birthday or the veneration of famous people. The shadow theatre was weakened after the fall of Angkor in the last century. However， it has evolved beyond a ceremonial activity to become an artistic form， while retaining its ritualistic dimension.
“斯贝克—托姆”高棉皮影戏台上的傀儡由透孔皮革制成，约2米高。远在吴哥时期之前，“斯贝克—托姆”皮影戏便与皇家舞剧、化装舞剧都被认为是神圣的艺术形式。一般来说，祭神的表演只在一些特殊时刻举行，一年只表演3到4次。比如，在高棉新年、国王生日或敬奉名人时表演。然而，在上个世纪吴哥王朝衰败后，皮影戏也随之被削弱，但它已经演化为一种保留着仪式规范的典礼性艺术形式。
The puppets are made from a single piece of leather in a special ceremony for each character. Shiva and Vishnu， for example， are cut from the hide of a cow， which died accidentally or naturally. The hides are dyed with a solution made from the bark of the Kandaol. The artisan draws the desired figure on the tanned hide， then cuts it out and paints it before attaching it to two bamboo sticks which enable the dancer to control the puppet.
The performances traditionally take place at night in the open air beside a rice-field or pagoda. A large white backdrop is held between two tall bamboo screens in front of a large fire or， nowadays， projectors. The shadow of the puppet’s silhouette is projected onto this white screen. The animator brings the puppet to life with precise and specific dance steps that produce a range of movements. The performance is accompanied by an orchestra and two narrators. Performances from the Reamker， the Khmer version of the Ramayana， might last several nights and require up to 160 puppets for a single session.
在特殊仪式中，每个角色的傀儡都由整片皮革制作。例如湿婆与毗湿奴，采用的是意外或自然死亡的母牛皮，牛皮以Kandaol（树名）树皮溶液染色。工匠们将想要的形象画在晒制后的牛皮上，然后将它剪出、上色，再系到两根竹棍上，以便舞者操作。
依照传统习惯，表演在夜晚举行，地点在户外的谷场或宝塔旁边，将夹在两根高大竹板间的大白幕布安置在一大堆篝火或今天的照明灯前面。傀儡的影像投影后，如同白色屏幕上的中国皮影。有着精确奇特舞步的操纵者赋予这些傀儡以生命，动作丰富。表演由一个乐队伴奏，并伴有两个讲述人。“Reamker”，高棉语译本的《罗摩衍那》，可能持续几个晚上，每场就需多达160件傀儡。
“斯贝克—托姆”高棉皮影戏台上的傀儡由透孔皮革制成，约2米高。远在吴哥时期之前，“斯贝克—托姆”皮影戏便与皇家舞剧、化装舞剧都被认为是神圣的艺术形式。一般来说，祭神的表演只在一些特殊时刻举行，一年只表演3到4次。比如，在高棉新年、国王生日或敬奉名人时表演。然而，在上个世纪吴哥王朝衰败后，皮影戏也随之被削弱，但它已经演化为一种保留着仪式规范的典礼性艺术形式。
The puppets are made from a single piece of leather in a special ceremony for each character. Shiva and Vishnu， for example， are cut from the hide of a cow， which died accidentally or naturally. The hides are dyed with a solution made from the bark of the Kandaol. The artisan draws the desired figure on the tanned hide， then cuts it out and paints it before attaching it to two bamboo sticks which enable the dancer to control the puppet.
The performances traditionally take place at night in the open air beside a rice-field or pagoda. A large white backdrop is held between two tall bamboo screens in front of a large fire or， nowadays， projectors. The shadow of the puppet’s silhouette is projected onto this white screen. The animator brings the puppet to life with precise and specific dance steps that produce a range of movements. The performance is accompanied by an orchestra and two narrators. Performances from the Reamker， the Khmer version of the Ramayana， might last several nights and require up to 160 puppets for a single session.
在特殊仪式中，每个角色的傀儡都由整片皮革制作。例如湿婆与毗湿奴，采用的是意外或自然死亡的母牛皮，牛皮以Kandaol（树名）树皮溶液染色。工匠们将想要的形象画在晒制后的牛皮上，然后将它剪出、上色，再系到两根竹棍上，以便舞者操作。
依照传统习惯，表演在夜晚举行，地点在户外的谷场或宝塔旁边，将夹在两根高大竹板间的大白幕布安置在一大堆篝火或今天的照明灯前面。傀儡的影像投影后，如同白色屏幕上的中国皮影。有着精确奇特舞步的操纵者赋予这些傀儡以生命，动作丰富。表演由一个乐队伴奏，并伴有两个讲述人。“Reamker”，高棉语译本的《罗摩衍那》，可能持续几个晚上，每场就需多达160件傀儡。