Music and speech

In addition to the set poems and puppet performances, there are also musical accompaniment and verbal narratives that are most relevant to the front and back scenes. In addition to puppets or puppetry performances, the soundtrack, ventriloquist performances of the backcourt staff, and allegro performances in conjunction with the civil and military plots of the front scene, are the skills of a puppet troupe. “Split the frontcourt, seven-point backcourt” illustrates the importance of the backcourt for music or verbal expression to the essence of puppet show.

In terms of backcourt music, traditional puppet shows are accompanied by two musical styles: Beiguan and Nanguan. The back field can be divided into literary field and martial field according to different musical instruments. Martial field refers to the percussion instrument with only rhythm but no pitch, and literary field refers to the performance of string-pulling, plucking, and wind instruments with varying pitch.

More detailed breakdown: Wuchang instruments include gongs, small gongs, snare drums, Tonggu, banknotes, cymbals, clappers, etc., while literary instruments include erhu, suona, clappers, yueqin, and flute. [6] According to the type of play, this soundtrack can be subdivided into Shengdan play, trial stage play, martial arts play, Liantai play, discount play and boxing play. After the middle of the 20th century, the backstage music gradually changed. For example, the backstage music of Peking opera was introduced, Western instruments and music were used, singers were used to sing live songs, or electronic music was played on tapes.

The eloquence master who speaks the local Minnan or Taiwanese language to perform can be described as the soul of the puppet show. In the puppet show, the vocalist in the backstage arranged the dialogue and chanting of all the characters in the play, and was often the only listed protagonist in the puppet show. Because of the success or failure of the performance, the protagonist who is similar to the professional storyteller must have the skills to imitate the voice quality of different characters of men, women and children, different speech styles and even different local accents. In terms of examples, the popular verbal master must also have deep literary attainments and musical literacy, and must be able to distinguish five-tone characters with different personalities, plus the eight tones and seven emotions that express emotions, and the rest. Basic role verbal and so on. From this point of view, a verbal master must at least be capable of dubbing 28 different emotions and roles. In addition, the very special set of poems and chants in puppet show or the rare monologues in the play are also related to the quality of a play.