The name 'ah myint thabin' (high performance) refers to the fact that the puppets perform on a raised platform, contrary to human dancers who perform on ground level (ah naint thabin). The puppeteers stand on a platform behind a handrail; their lower bodies are hidden by a painted backdrop in front of which the puppets perform, and their upper bodies are hidden by a curtain. When not in use, the puppets hang behind them. The performances usually last all night.

A company consists of puppeteers, singers and musicians. Singers sit next to the puppet players and sing or declaim the texts of the more complicated characters, like the Prince and the Princess.

A puppet show begins with the appearance of Thagyar Min, the King of the Spirits (Nats), and the Medium (Natkadaw) who pays tribute to the Buddha and the Nats. Then a number of characters come on stage representing the Creation of the World (Himavunta): the White Horse, the Monkey and the two Ogres, Zawgyi the magician, and Garuda, the mythical sun eagle who fights with Naga, the mythical snake.

After the chaos of the Creation, order is represented by the foundation of the Kingdom, with characters like the King and his wife, the Prince and the Princess, the ministers, the royal astrologer, pages and clowns. In every Burmese drama, a compulsory scene is the dance duet. The prince dances beautifully, to impress his love. The duet is the finale of the puppet show, and the favourite item of the public.

Ah Myint Thabin - High Performance

A set consists of at least 28 puppets. There are pieces of scenery on the stage, such as a throne. Painted backdrops represent the scene of the action: a forest or a palace. Each puppet has its own particular way of dancing, with accompanying music and song.

The wood has to be resistant, easy to carve and light. Most puppets have eleven strings. Five of these strings attach the head, the shoulders and the rump to the H-shaped wooden cross piece. The upper arms, thighs and hands are operated with the six remaining strings which hang loose and are draped over the cross piece.

The head, hands and feet of the puppets representing humans are carved and painted, after which the body parts are tied together. Then the strings are attached to the cross piece. Finally, the puppet is dressed in the clothes and given the attributes that correspond to its character. Souvenir puppets, smaller in size, are sold in temple shops and markets, and much appreciated by tourists.

The characters can be humans, animals, or mythical beings.

The Hermit (Yathay) is the patron of the puppetry, a holy man endowed with powers to bring comfort and good fortune. He wears a simple brown robe and a flat-topped hat. This puppet is treated with the greatest respect by puppeteers, and often stands near the shrine of the Buddha in their home.

The Medium (Natkadaw) is often dressed in red, the favourite colour of Nats; her hair flows down, and a band of red silk circles her brow, two short ends fluttering over the ears. A long silk scarf is tied around her torso.

The medium-puppet is the first to appear on stage, and her choreography is based on the movements of a real life medium, the sway and tremble of a 'possessed' person. She lifts the homage offerings bowl towards heaven, supplicating the Nats, and towards the audience. The Natkadaw dances for the Nats and offers them a coconut and bananas.

The Prince (Mintha) is the leading character of most classical plays, together with the Princess. He wears a pair of half-length trousers underneath his sarong, so that he can perform acrobatic feats.

Around his head he wears a head wrap (gaung baung). His human hair is done in a neat top knot. In tragic scenes, the hair is let loose, to depict sorrow so deep that the sufferer has no desire to comb his hair.

The Princess (Minthamee) is the romantic heroine. Her hair is done in a top-knot, with a fluffy tress hanging loose on the right side, flowers cascading along its length. The princess embodies the Burmese ideal beauty, so her face is always beautifully sculpted and painted. Her jacket is the most opulent, heavily embroidered, and she wears a lot of jewellery.

The small puppet skips around, forefingers outstretched, as he points out things that need to be done. He is dressed rather like a jester, but with gold medallions and chains around his neck. He wears his hair tied in two bunches, one on either side of the head, high above the ears.

The King (Min) usually does not wear his ceremonial costume, which is 'reserved' for the King of the Celestial Beings.

His clothes are simple: a white jacket, a sarong, and a white tubular circlet as a head dress. He wears leather shoes incrusted with semi-precious stones and decorated with a bird (hin tha).

24 Strands of gold crisscross his chest, and he carries a golden dagger in his right hand. The Queen is dressed like a wealthy lady.

The 4 Ministers (Wun) are the narrators of the plot, and discuss current affairs. They are not dancing puppets.

The Home Minister is dressed in a long deep red robe, edged with gold, and wears a high velvet red hat, banded with gold and jewels. Under his robe, open at the front, he wears a silk jacket and a sarong.

The Minister of the Secretariat wears a robe similar to that of the Prime Minister, but of a different colour. He wears a white tubular circlet on his head, with two narrow rabbit-ears at the back.

The Royal Astrologer (Ponna), dressed in simple white garments, is a Brahman; they are famed as astrologers, interpreters of dreams, and masters of ceremony for auspicious occasions. In drama, they are the much needed villains. (In modern times, the Brahman is replaced by a comic figure, who is groom to a horse or elephant.)

Wun Gyi - Prime Minister

The two Jesters (Thancho and Thanpyet) are dressed identically in checked sarongs tucked up and short jackets open at the front, with large gold anklets and bracelets.

They wear charms around their necks, which are made of sacred threads woven thick, with a silver amulet wrapped across the middle.

These are not dancing roles; they are companions to the Prince. The jesters have sharp wit and dexterity with puns, criticize people and comment on actual events.

Thancho and Thanpyet

Animals

The White Horse (Myin) plays an important role in Burmese mythology and the traditional 'Himavunta' (Himalayan) scene in a Burmese puppet show.

It is the symbol of the horse-head shaped constellation which was supposed to have appeared at the birth of the universe. The horse dance represents the creation of the earth. The horse puppet is always a white stallion.

Tiny silver bells are attached to the halter and trappings which are woven out of bright coloured yarn, gay with pom-poms. The White Horse, the first living being on earth, descends to earth, dances around for a while, and goes back to heaven.

The Monkey (Myauk) romps around the stage. His head is in the stylized form of Hanuman, the monkey-god of the Ramayana epic; he usually wears a few human garments over his furry velvet body.

The ogres kick him around a bit and chase him away.

The King of the Celestial Beings is Thagyar Min. His costume is opulent, the 7-tiered head dress studded with brilliance, and his gold coloured robe stiff with sequins and beads. He carries a double edged sword in his right hand.

This costume is a replica of the ceremonial dress worn by the Burmese kings on state occasions. This puppet always descends upon the stage from above the handrail, signifying his abode on high; his feet must never touch the floor.

Ogres (Belu's) wear beautiful green costumes. They carry short swords, one of the five items of the Burmese king's regalia. There are two ogres, the City Ogre (Nan Belu) and the Jungle Ogre (Taw Belu).

The city ogre's head dress is topped with a jewelled spike, the jungle ogre's with a plumed crest. Their dance is mostly a show of evil power and strength, and the ominous music, combined with stalking steps, creates a most chilling mood. After chasing the Monkey away, they chase each other and engage in hand to hand combat. The city ogre always wins, and he exits chasing the jungle ogre.

The mythical Snake (Naga) is the mortal enemy of the mythical Sun eagle (Garuda), who chases him around the stage. The latter has a bird's head, human body and hands, with wings attached and talons.

The Magician (Zawgyi) roams through forests and over mountains, capering and singing as he goes, in search of medicinal plants and the fruits of the wishing tree, which he magically transforms into beautiful girls.

On his wanderings he sings about the beauty of nature, as he searches constantly for the philosopher's stone. One touch of his magic wand and the stone will change everything into gold. He is dressed in red, wearing a long and flaring robe trimmed with gold, a red cap on his head, red slippers and trousers under a tucked-up sarong.

With a red staff he grinds medicine, or prods at certain fruits to turn them into nymphs of pleasure. He can fly through air and bore through earth.