| Summary: | 碩士 === 國立臺北藝術大學 === 劇場藝術研究所 === 91 === Preface
To Act Like Real People — “I-Wan Jan”
When I was still a child, my master at “I-Wan Jan” told me, “Performing glove puppetry should imitate the actions of real people and act like them.”
Another name for glove puppetry is “Puppet in hand.” The magic of shows is all in the puppeteers’ hands and fingers.
From the perspective of performing, glove puppetry is not only the use of different voices and movement of fingers, but also the dialog between puppeteers and puppets. Puppeteers pour their emotions into puppets and then project these emotions upon the audience. After the audience receives the emotions, a theatrical interaction is created between puppeteers, puppets and the audience.
I had no experience in stage performing when I entered the National Institute of Art (It became National Taipei Art University in August 2001), a school concentrates on the theories of Western theatrical concepts. I tried to perform on stage and read different types of scripts.
I’m interested in Shakespeare’s scripts and styles of performing. The characters in his scripts are real and have their own personalities that fit the understanding of the society at the time. The biggest challenge of performing Shakespeare’s script is to reshape the characters’ personalities that can be accepted and understood by the audience in Taiwan. I have first to understand how did Shakespeare create these roles and what are their purposes. From these analyses, I transformed “Henry IV” to a Taiwanese version and gave a deeper meaning to glove puppetry.
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