lakon: There are predominantly two types of repertory. Wayang gedok has heroes who date from the late Java-Hindu era and stories that revolve around the East Javanese legends (Prince Panji). This form is most popular in East Java but rarely seen in Central Java. Wayang purwa draws its themes from episodes and heroes of Indonesian prehistory and the Hindu Mahabharata and Ramayana epic poems, these mythological tales being the most frequently seen and best known of all shadow plays. All the themes share the same plots and the same typology of heroes runs through them all. The setting is always Java. The traditional 10 hour performance is divided into 3 principal parts. In each of these periods a different gamelan musical pitch is employed to heighten the mood. The leading character seldom appears before midnight, usually a little after. Only then can the audience be sure which story is being staged. The first time period, from about 8 pm to 12 am, is said to stand for the youthful period of human life, from infancy to adolescence. The da/ang takes this opportunity to instruct on refinement of manners and moral and ethical advice. At midnight there is always a great climax (gara-gara), a clash between the good and bad forces. After this, the 2nd period opens which lasts until around 3 am. In this period the clowns play a large part, giving comic relief while the heavy plot unfolds. This phase symbolizes the young adult's struggle in society. Finally, the game/an switches the mood (3rd phase) to a lighter pitched music as the hero slays his enemies, good triumphs over evil, and peace is regained. There's a joyous victory dance (tajungan). by Bima or his father Blaju (God of Wind). Then the sun comes up in both worlds. This last period represents the wisdom and maturity of old age