Drums and gongs sounded to start the show, and Li agilely jumped to his backstage perch, slipping his hand inside the puppet of the imposing general Xue Rengui.
In order to document this legendary figure in Taiwanese puppet theater, Sinorama made a special report about him, following him on and off the stage. Li was a true master of his craft, a distinguished figure of extraordinary talent.
Li’s I Wan Jan Puppet Theater ensemble used a carved wooden stage and eight-inch wooden puppets. Musicians played in accompaniment, and the puppeteers recited elegant lines. The old master decided that they would adhere to the authentic conventions of the art passed down from Quanzhou and avoid the special effects and gimmicks seen in the “golden light” style of Taiwanese puppet theater.
Puppets came to Taiwan with immigrants from southern Fujian Province. Over time the name of the performance art changed from zhangzhongxi to budaixi. Li insisted on following tradition. At one point some French youngsters saw him perform and came all the way from Paris to study under him. Though then retired, Li was extremely moved, and gave them his all.
Li had only received two years of formal schooling, but puppet theater allowed him to travel as far as Europe for performances. “Puppet theater is indeed a life of wandering!” he observed.
All the world’s a stage, or so they say. Li, who spent 60 years performing, showed great attachment to his life inside the performance tent. It was thanks to his persistence and determination that Taiwanese puppet theater would travel around the world.
A puppeteer’s lot is that of a wanderer, and Li and his hand puppets travelled as far as several European nations.
A puppeteer’s lot is that of a wanderer, and Li and his hand puppets travelled as far as several European nations.
A puppeteer’s lot is that of a wanderer, and Li and his hand puppets travelled as far as several European nations.
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