Leader of the Palm Puppetry Theater Troupe - Wu, Qing-Fa

1.Basic Information:

  (1).Name: Wu,Qing-Fa

  (2).Gender:Male

  (3).Service Units:  The Palm Puppetry Theater Troupe

  (4).Job Title: Leader

2.Interview Questions:

Q1. How did you first come into contact with glove puppetry? 

A1. It was passed down to me by my father. He was a leading performer in the local disciple's puppetry troupe, also known as the "head puppeteer"-- someone who played musical instruments and also acted in the show. Although my father did not specifically learn glove puppetry, he studied backstage performance for the opera in Changhua. When I was 13 years old, I began to perform glove puppetry. At the time, my master was unwell and couldn't perform, but there were many people coming to watch the show and he was worried. I told him not to worry, that I could perform in the afternoon. He was skeptical, but I insisted. At that time, I often painted the stage backdrops which were 4.5 feet high. If I couldn't reach, I would stand on a chair. That afternoon I performed and I had to perform again that night. After my master's condition improved, he also came to watch me perform. Despite my childlike voice and limited musical abilities, people still came to watch. From the age of 13 to 16, I formed my own troupe. We had trouble getting a license to perform because the scripts had to be reviewed and approved to ensure they did not harm the nation and contributed to society. My father had to act as my guarantor for me to obtain the license because minors were not eligible to apply. I could not manage the troupe alone and had to seek advice from the person in charge. Since then, I have continued to perform puppetry to this day.

Q2. What are the differences between Northern and Southern Taiwanese glove puppetry?

A2. The origin of Taiwanese glove puppetry can be traced back to Quanzhou, China. Southern Taiwanese glove puppetry is the traditional form, while Northern Taiwanese glove puppetry is a modified version created in Taiwan. Southern Taiwanese glove puppetry features slow movements and extended singing, with graceful puppet handling. It remains unchanged in China to this day. Northern Taiwanese glove puppetry, on the other hand, features faster movements and livelier performances. It originated from Beijing and was popularized in Taiwan during the agricultural era, with most villages having a martial arts school that performed Northern Taiwanese puppetry. This form of puppetry became dominant in Taiwan due to its popularity and suitability for both dramatic and martial arts performances.

Q3. How did you decide to use Beiguan music for the backdrop of puppetry performances?

A3. Beiguan music has been the traditional music of Taiwanese glove puppetry since its introduction in Taiwan. It is versatile, suitable for both dramatic and martial arts performances, and familiar to the Taiwanese people due to its popularity in martial arts schools across the island. Therefore, it can better connect with the local audience and resonate with them on a deeper level.

Q4: Have you played any instruments in the Beiguan Opera?

A4: I can play the drums, gongs, cymbals, and chimes, which are all instruments used in the martial arts scenes. As for the instruments used in the literary scenes, such as wind and string instruments, I did not learn those.

Q5: Did you encounter any difficulties in your learning process?

A5: There were many difficulties, too numerous to list. However, it all depends on whether you want to learn it well or not. When my teacher taught me how to play the drums, I had to remember and be able to play it. If you want to be the lead performer, it is even more difficult. When I was learning, I had to sign a contract with my teacher and live with him for three years and four months without earning any money. I had to do whatever job my teacher asked me to do. Back then, there were no scripts or teaching methods. The teacher would perform and the student had to stand beside them and learn by watching. I learned from four or five teachers and memorized the play scripts, which totaled more than a hundred scripts and several hundred plays which I could do as what the teachers did and performed without looking at the script. But back then, we would work on plays for several months without any rest. Doing glove puppetry was a good life at that time, but it was difficult to balance learning and work.

Q6. Do you have any profound experiences or insights about "Beiguan" music?

A6. Of course, I have experiences and insights about "Beiguan" music. My experience is that the music should be matched to our stage performance . To truly understand and experience it, one must be present in the theater. Even if the performers are from the same troupe, there is no guarantee that they will always be well-coordinated. For example, in Lukang Caiyuan Temple, there is a troupe where the sound can be heard from far away, and if someone passes by, they will hear the sound and continue listening until the end of the performance. The dialogue must match the music, and the experienced performers are known to have good coordination. However, there was one experience where all the performers in the back were students playing musical instruments. When they came on stage to perform, they played correctly but lacked the emotional resonance. It was difficult to convey the sense of sadness, and the performers felt upset because the music did not match the atmosphere. Even though the musicians played happily, the performance could not be carried out properly. The experienced "Beiguan" teachers in the back may not have played wrong notes, but they were unable to fit into the performers' atmosphere, so the play could not continue. This is where the "Beiguan" teachers’ experience  and the performers' intuition are required.

Q7. Do you have any other suggestions for us?

A7. Once you learn how to play the music, you should be able to make variations. For drumming and cymbal playing, drumming is just to show the rhythm, so the quality of the drumsticks is not important. However, for cymbal playing, you must hit the right spot. If the cymbal is hit incorrectly, the performers playing other instruments will be unable to keep up. When playing cymbals and clappers, you should learn to alternate between them. Clapper beats can be added or omitted, but the cymbal must always be on time. When one person plays two instruments, the clappers can be played in a pattern, but the cymbal must always be consistent. The clappers can also be varied a little, so they are not monotonous and unpleasant to listen to.