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Monday, October 16, 2006

Annotated Bibliography

1. Chio Ting. “ The Great Wave of Performance Stage.” March, 1996.
(Page 8 paragraph 4). Taiwanese opera performance was invited to celebrate the
birthday of Gods by temples.
(Page 9 Paragraph 2). Multiple local dramas are flourishing because of the religion belief,
and outdoor performance and committee involving are also the motivation of it.
(Page 10 Paragraph2). In the dilemma of price reduction and the crisis of inheriting, many
troupes are hard to manage.
(Page 35 Paragraph 4). The features of Taiwanese opera are not only being cable to
tolerate and easy to popularize, but also free to perform.

2. Chen Gen, Zen Shei-Wen. “ The Frustrations of Taiwanese Opera.” November, 1995
(Page 157 Paragraph 5). In 1960s to 80s, the KMT government supports the development
of Pekng opera. The government discriminated and ignored Taiwanese opera in order to
protect the superior their won traditional culture.

3. Hui-Lin Cheng. “ Taiwanese”~ Taiwanese opera at Interface. May, 2005
<http://www.uni-bielefeld.de/soz/igss/pdf/proposals/proposal_cheng_hl.pdf>
(1~2). The author mentioned that Taiwanese opera is more popular than Chinese
opera because Taiwanese opera use Taiwanese slang largely, and of course, it expresses
the spirit of local appropriately. Taiwanese opera is promoted as “local culture” by
government. (6~7). Taiwanese opera used to going down because of the policy, which
made by KMT, forbid to speak Taiwanese. KMT announced Taiwanese is dialect and
imposed China identity on whole society. Whit the local consciousness raising, the
folklorist Lin Mao-Xian stated on newspaper (1990) that “Taiwanese opera is the only
native-born theater.”

4. Hung Shen-Chen “The research of The Life of Taiwanese opera Actor.” June, 1993
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