Literature Review (Draft 2)

Literature Review:

Glove puppetry was introduced to Taiwan more than 200 years ago. Jenqjy (1991, p. 186) finds that the puppetry was spread to Taiwan by immigrants from Chuanchow (泉州) and Changchou (漳州). According to a book "The Appreciation of Eastern and Western Opera," Wuchang (1990, p. 227-229) outlines that the changes and development of Taiwan's tradition of puppet plays can be divided into eight phases from the beginning until 1990. First phase is a period that before Kuang-shu (光緒) in the Ching dynasty. It was called Lung-ti (籠底) play. This was the earliest form of glove puppetry; it was taught and performed by the masters in the Tang-shan (唐山) area in mainland China. Additionally, troupes brought it as a form of family heritage when they traveled from the mainland to Taiwan. Second phase is Bei-guan(北管) play which developed around the years of Kuang-shu in the Ching dynasty. During the middle of 19th to the end of 20th century, glove puppetry had followed the original style of performance from mainland China (Yuhluh and Yeaching, 1995, p. 20). Glove puppetry began to localize in this period; also, Bei-guan music was at the top of its popularity at that time. Therefore, the music transferred into Bei-guan, for initial music - Nan-guan(南管) - is boring, slow tempo, and with accent. The Bei-guan is active with high pitch and distinct beat and adopted by Taiwanese. Moreover, fighting plot was devised and sometimes special and strange animals were put on stage to attract audience's attention. Therefore, glove puppetry was going to mature. Third is Chinese classical novels phase. Around 1911, the audiences of puppet shows became interested in plot from historical novels such as San-Kwo Yien-Yi (三國演義), and Feng-shien Bang (封神榜). Puppeteers started to use these plots in puppet shows. In addition, popular tales of historical judicial judges like Peng-Kung An (彭公案) and Shi-Kung An (施公案), were beloved in puppet play and were called "Kung-an Plays"(公案戲). Forth phase is Chien-hsia (劍俠) play. In the 1920s, legends of knightly heroes become one of the main topics for puppet shows. During this phase, the music for glove puppet shows in southern Taiwan was a mixture of Bei-guan, Nan-guan, and Chao-melodies (潮調). In northern Taiwan most puppet shows still used Bei-guan music, except for Li Tian-lu's (李天祿) troupe, Yi Wan Ran (亦宛然), which continues to be one of the most famous and popular puppet troupes in Taiwan. Fifth phase is Kominka (皇民化) Movement in 1937-1945. Chunlan (N.D., p. 4) states that "Taiwanese were forced to adopt Japanese names and participate in Japanese religions, and Japanese arts replaced Taiwanese arts gradually". At the outbreak of the war between China and Japan on July 7th, 1937, Japanese governors in Taiwan launched a policy of national conformity, and banned performance troupes from performing historical Chinese stories and prohibited them from using the Mandarin and Taiwanese languages in their plays. During this time, puppet shows exhibiting Japanese traditions came out, and there were seven troupes grouped as the Yen-jiu Ting-shen Team, (演劇挺身隊) with performances completely focusing on plots advocating the Japanese samurai spirit. In 1944, while losing in the war in the Pacific, the Japanese organized puppet show troupes into the Association of Mobile Entertainment (移動藝能奉公會), which served to spread political promotion for the Japan government. After WWII, 228 Incident broke out in 1947. Thus, puppetry was prohibited again by Taiwanese government (N.D., p. 7). Sixth is Anti-Communism & Anti-Soviet phase. In early 1951, the Chinese KMT party, with the aim of instilling anti-communism and anti-Soviet consciousness into the public, organized some puppetry troupes as "patriotic troupes." However, the puppet shows were only added a couple of political slogans in performances to satisfy the requirements, not forming a new type of puppetry. Seventh is the phase of Chin-kuang (金光 Gold and Light) puppet show. Lee Tian-lu produced Three Hundred Years of the Ching Dynasty (清宮三百年) in 1948, a play about the Shao-lin (少林) disciples including Hung Hsi-kuan (洪熙官) and Fang Shih-yu (方世玉). The play turned out to be a hit and led the development of the Chin-kuang puppet show. Eighth phase is puppet performance on television, movies, and broadcast (Wuchang, 1990, p. 227-229). After assimilation, improvement, mature, restraint, and reformation, puppetry was in its heyday in 1970s. Suemei (1997) mentions that the main function of traditional puppet performance is to appreciate and entertain the Gods. It also serves local folk entertainment for all the people. In generally, the audiences take it naturally at all of ages. In this period, people's religions affected puppetry a lot in Taiwan. Gradually, the place where perform the glove puppetry was changed from outdoor to indoor (Gwojenq, 1999, p. 176). In addition, puppeteers start to create new style for puppetry. For example, they improve the music, scene, and puppets' costumes to make it animated and various. According to an online article "Glove Puppetry," GIO (2004) contends that "Taiwanese glove puppetry is a drama that is deeply embedded in Taiwanese folk society." Nowadays, traditional glove puppetry combines with science and joins the purpose of commercial. The puppetry starts to perform on TV and movies, for it attracts many viewers (GIO, 2004). Moreover, the Cultural Heritage Preservation Law was passed in 1982 in order to remind that the government has to preserve and promote folk arts (GIO, 2001). However, it is not enough for glove puppetry to keep going in Taiwan. Chyonghuey (2003, p. 64-67) suggests that Taiwanese puppetry can be continued by some improvement; for instance, puppeteers have to create something new and communicate with the audience. Moreover, government should do substantial help to puppetry in order to give it a proper condition to keep going on. Additionally, Hwanyueh (1990, p. 120) claims that people should view the Taiwanese puppetry with objective attitude. We have to respect any changes and improvement, for they are all concerned with this cultural art (1990, p. 125). Nevertheless, it is not sufficient for hand-puppet to survive in this circumstance. It must depend on many efforts.