Shadow play, also known as shadow puppetry, is an ancient form of storytelling and entertainment which uses flat articulated cut-out figures (shadow puppets) which are held between a source of light and a translucent screen or scrim. The cut-out shapes of the puppets sometimes include translucent color or other types of detailing. Various effects can be achieved by moving both the puppets and the light source. A talented puppeteer can make the figures appear to walk, dance, fight, nod and laugh. There are four different types of performances in shadow play: the actors using their bodies as shadows, puppets where the actors hold them as shadows in the daytime, spatial viewing, and viewing the shadows from both sides of the screen. Shadow play is popular in various cultures, among both children and adults in many countries around the world. More than 20 countries are known to have shadow show troupes. Shadow play is an old tradition and it has a long history in Southeast Asia, especially in Indonesia, Malaysia, Thailand, and Cambodia. It has been an ancient art and a living folk tradition in China, India, Iran and Nepal. It is also known in Egypt, Turkey, Syria, Greece, Germany, France, and the United States. History Shadow play probably developed from "par" shows with narrative scenes painted on a large cloth and the story further related through song. As the shows were mostly performed at night the par was illuminated with an oil lamp or candles. Shadow puppet theatre likely originated in Central Asia-China or in India in the 1st millennium BCE. By at least around 200 BCE, the figures on cloth seem to have been replaced with puppetry in Indian tholu bommalata shows. These are performed behind a thin screen with flat, jointed puppets made of colorfully painted transparent leather. The puppets are held close to the screen and lit from behind, while hands and arms are manipulated with attached canes and lower legs swinging freely from the knee. The evidence of shadow puppet theatre is found in both old Chinese and Indian texts. The most significant historical centers of shadow play theatre have been China, Southeast Asia and the Indian subcontinent. According to Martin Banham, there is little mention of indigenous theatrical activity in the Middle East between the 3rd century CE and the 13th century, including the centuries that followed the Islamic conquest of the region. The shadow