Taiwanese opera
[2] Taiwanese opera is the only form of Han traditional drama known to have originated in Taiwan, specifically in Yilan.
As early as seventeenth century, immigrants from southern Fujian, China brought Jinge, the popular folk songs that set the poetry in local dialect to Taiwan.
Around nineteenth century, amateur singers in Gilan modified Jinge and gradually developed a new style called Kua-a (Chinese: 歌仔; pinyin: gēzǎi; Pe̍h-ōe-jī: Koa-á).
In the early stage, the Japanese government allowed the local customs to develop without much interference and Taiwanese opera continued to thrive.
She stated, “It’s worth noting that in 1928, the San Le Hsuan troupe (三樂軒班; Pe̍h-ōe-jī: Sam-ga̍k Hian-pan), on a pilgrimage to Wu Wang Temple in southern Fujian, performed with great success in Bai-chiao (白礁; Pe̍h-ōe-jī: Pe̍h-ta) and Xiamen… In succession, Taiwanese troupes such as Ni Sheng, Ni Kuan, Dan Feng, Mu Dan and Tun Yi also performed in Fujian province.”[6] After the Pacific War broke out, the Japanese government changed the previous policy and implemented a Kōminka policy that encouraged Japanisation.
(Lee-Daw-Ming, 158)[8] After Taiwan was handed to the Republic of China, Taiwanese opera was revived and more than one hundred troupes were formed within a year.
During this time, Chen Cheng-san (陳澄三) founded “Kung Le She” (拱樂社) troupe and became the first person to use written scripts for performance.
He commissioned Chen Shou-jing to write scripts of "Broken Dreams of the Red Chamber" (紅樓殘夢; Pe̍h-ōe-jī: Âng-lâu Chhân-bōng).
[10] Even during its golden period, Taiwanese opera continued to face challenges and adapt to the changes in political and cultural environment.
The rise of the new broadcasting medias including radio, film and television show, the influence and popularity of western pop songs and movies drew the general public’s attention and presented serious competition.
During the martial law from 1949 to 1987, the KMT government revived the Mandarin Promotion Council and discouraged or, in some cases, forbade the use of Hokkien and other dialects.
In 1955, Chen Cheng-san filmed the first white and black movie of Taiwanese Opera “Xue Pin-Gui and Wang Bao-chuan” (薛平貴與王寶釧; Pe̍h-ōe-jī: Sih Pêng-kùi Ú Ông Pó-chhoàn) and the premier was a huge success.
Fans of the opera attribute its continuing relevance to a willingness of performers to adapt to modern times in terms of style and artistic diversity.
Taiwanese opera's success in movie and television industry ironically becomes one of cause that eventually leads to the decline of indoor staged performances.
Chen Shen-Fu, a general producer of the Ming Hwa Yuan Arts and Culture Group, said: "Although we know everything they do is for survival, that is not right.
Tsai summarised the period of decline: The main social changes were the rise of many forms of entertainment in the 1960s and the transformation of society from agricultural to industrial and commercial in the 1970s.
[16] Taiwanese opera's history reflects the growth and changes in Taiwan society starting from the earlier immigration influences, oppression under the Kōminka movement, to little state support during the martial law era and the transformations of modern medias.
The three-role opera is known as the story of tea-farmer Zhang Sanlang performed by one clown and two female roles and the plot and the singing are fixed.
