Report on Field Work in Taiwan in the Summer of 1964

123 Report on Field Work in Taiwan in the Sunnner of 1964 Rulan Chao Pian From the middle of June to the middle of September my chief activities were centered around gathering materials related to the Peking Opera. For three mornings a week I met with the retired actor, Jang Shiihae, and the orchestra conductor, Wang Yeoushyong, to learn the basic techniques of the various percussion instruments, and to hear them talk on the traditions and the principles behind the use of rhythmic patterns in the opera. Jang is the only member of the oldest class (he is 71) of the famous Fuhliancherng School of the Peking Opera living outside of mainland China today, and I asked him to record his life history on tape recounting his early operatic training. The Fuhshing School, which I originally planned to visit, had just been reorganized and was not active during the sunnner. But the schools which I did visit, Luhguang (sponsored by the Army) and Dahperng (sponsored by the Air Force) proved to be more authentic in their training methods, since the Fuhshing School is frankly trying to modernize its methods. At Luhguang and Dahperng I watched the children (ages 8 to 16) do their vocalizing exercises from 6:00 in the morning. This is followed by tumbling and juggling with spears and swords, learning the standard sequences of stage movements, reciting in a group the spoken and recitative dialogues, singing the arias individually to fiddle accompaniment and group rehearsing of old and newly written operas. In the evenings I went to opera performances whenever they were available. It is strange that in Taiwan there was not a single Peking Opera company performing on a connnercial basis for the general public. (The only exception was the student-performances of the Dahperng School every Sunday morning which is more for the 124 2. benefit of the students than for the general public.) On the other hand there are about half a dozen opera companies owned and subsidized by various divisions of the armed forces. These troupes are kept chiefly for the entertainment of servicemen. Two troupes also have training schools--as mentioned above. For special occasions, these troupes also give private performances upon request from various governmental organizations. The frequency of their performances is quite unpredictable. This happened to be an unusually active summer. Through the good offices of friends and certain musicians in the troupes, I was frequently given permission to sit in the orchestra pit to watch the instrumentalists play and make recordings of the entire performances. Altogether, I recorded 33 complete works. Some are short less than one hour, while some last over four hours. The usual explanation for the lack of a commercial Peking Opera company in Taiwan is that it is an out-of-date art form; financially it cannot compete with the motion pictures in attracting the present day younger generation. While it is true that during these "command" performances the average age of the audience was usually about 40, the Peking Opera must still hold the interest of a good part of the population, for in practically every organization in Taiwan governmental or private, commercial or academic, there is always an amateur opera club (similar to the "office" soft-ball teams in the U.S.). They usually meet once or twice a week to have a jam session together. Performers range from beginners to those of almost professional quality. The clubs often have a professional artist as a technical consultant, for example, Jang Shiihae is such a consultant. Many clubs also consist of members with various vocational backgrounds. The opera club of the Central Broadcasting Station for example, has in its percussion orchestra two high school teachers, an unemployed rich man's son, and a taxi driver. In the four clubs which I visited about a quarter of the membership consists of people in their twenties or thirties. 125 3. Besides gathering general information about the Peking Opera and making records of actual performances, I have selected and assembled, with the help of Mr. Jang and Mr. Wang, a complete set of Peking Opera musical instrtnnents. I was able to make a full hour recording by...