Traditional puppetry includes two categories: puppet play and shadow play. Traditional puppetry in Taiwan can be divided into two categories: glove pu... (Read more)
Traditional puppetry includes two categories: puppet play and shadow play. Traditional puppetry in Taiwan can be divided into two categories: glove puppetry and string puppetry. The more popular one is glove puppetry. Ever since it was introduced to Taiwan with Fujian immigrants in the mid-Qing dynasty, its compact and rapid artistic performance became integrated with opera music in Taiwan, making it the most popular operatic form in Taiwan. In the early 20th century, with the maturation of performance arts, the southern and northern artistic schools formed. Generations of great talents appeared in various places, and each school possessed distinctive artistic characteristics. The two major schools are Wu-Chou Yuan and Hsin Hsing Ku. For nearly five decades, developments in technology have led to the development of movies, televisions, and broadcasts, which differ from traditional stage performance. In addition, among the various schools of Taiwanese glove puppetry with developmental potential, the most popular one is Taiwan Glove Puppetry of Pili TV. Over the past three decades, the development of the performance artistry of Taiwanese glove puppetry came to a virtual standstill. Although numerous puppetry troupes encountered difficulties in the cultural environment of Taiwanese glove puppetry, younger puppeteers have nevertheless gradually succeeded in reviving and redeveloping the art form in recent years. The future development of Taiwanese glove puppetry depends on the skills and enthusiasm of the younger generation!
Records exist of sting puppetry performances after Zheng Cheng-gong landed in Tainan with his soldiers. The difficulty of operating string puppetry has limited the number of performances in Taiwan. The performances of puppet show are usually for purposes of religious ceremonies, exorcism, and thanksgiving, instead of for entertainment. In addition, the characteristics of string puppetry in southern Taiwan differ from those in northern Taiwan. String puppetry in southern Taiwan is usually performed at thanksgiving ceremonies, while string puppetry in Yilan in northern Taiwan is used as a rite of exorcism. String puppetry in both northern and southern Taiwan plays a role in social etiquette and beliefs. String puppetry in Yilan came from Zhangzhou. It is integrated with Beiguan Luantan Opera with the performance of entire dramatic works. However, it is usually performed for religious ceremonies. There are some taboos against “watching string puppetry.” String puppetry in southern Taiwan came from Quanzhou. The music for string puppetry is the tune of Nanguan. Performances usually symbolize wealth, union, and fame. Brief dramatic lines symbolizing glory may be performed at grand thanksgiving ceremonies. The three puppetry troupes in Yilan have currently come to a standstill. The three puppetry troupes in southern Taiwan continue to perform as part of religious activities, and only the Jin Fei Feng String Puppetry Company continues to develop its performance arts.
Shadow puppetry in Taiwan originated from Zhaozhou located at the boundary between Fujian and Guangdong. It was popular in southern Taiwan in the late Qing Dynasty. The puppets used in shadow play were carved using buffalo skin by puppeteers. The music for performances was based on a Chao-diao. Diversified performance patterns (Minnan categories) were preserved. With the prosperous development of material conditions in Taiwanese society after World War II, the relative entertainment value of shadow puppetry eventually disappeared, as the performing arts gradually declined, and puppetry troupes significantly decreased and vanished. Only four shadow puppetry troupes remain in Kaohsiung. Recently, the Hua Chou Yuan Shadow Puppetry Troupe in Taipei, which was introduced from Hunan China, has created a series of unique performances.