Red Butterflies in Pursuit of Fragrance: Sound Journeys from Traditional Indoor to Contemporary Theatres in Taiwan

 Exhibition information   

Opening hours: Tuesday to Sunday (Closed on Mondays and Holidays)
Exhibition hall: Taiwan Music Institute 3F

 Exhibition Overview  

This exhibition interrogates the binary of "pure" and "hybrid" in Traditional Taiwanese Opera through the curatorial concept of "Pure Cotton and Fiber,"where"fiber" invokes the Japanese loanword ファイバー (faibā) and its connotations of hybridity. Originating in 1920s urban indoor commercial theaters (neitai), the art form faced severe cultural suppression during the 1937 Kōminka (Japanization) Movement. To survive, troupes hybridized their performances with modern drama, contemporary tunes, and Japanese attire—a style derogatorily dubbed "Fiber" (a synthetic blend deemed inferior to "pure cotton"). We reclaim this derogatory label to highlight the impossibility of a static theatrical tradition amidst historical upheaval. Focusing on the second phase of the indoor theater era (1950s–1970s), this exhibition explores how Traditional Taiwanese Opera assimilated diverse theatrical and auditory elements to thrive as a dynamic mass entertainment industry. 

 Curator's Note     

Set against the backdrop of Taiwan's traditional indoor theatres from the 1950s to the 1970s, this special exhibition centers on "sound" as its primary theme. Utilizing recordings of the Gongle Troupe from the Mailiao region of Yunlin County (authorized by the Taiwan Film and Audiovisual Institute) alongside private collections, the exhibition explores how Traditional Taiwanese Opera (Gezaixi) absorbed diverse genres to forge a unique identity amidst the fierce competition of urban theatres.

The exhibition also incorporates reconstruction materials from the "Folk Art Preservation and Apprenticeship Project" (1995–2003) initiated by the National Center for Traditional Arts. This project stands as Taiwan's longest-running and largest-scale cultural heritage rescue mission. Beyond documenting the lives and signature works of legendary performers, it reflects the dedication of the generation of intellectuals emerging in the 1970s toward the research and reimagining of tradition.

The goal of this curated sound exhibition is to bring these precious recordings back into the public recognition—transforming them from static digital files into objects of active listening and reflection. Key highlights include:

．Anthropological Context: While many operatic segments can no longer be fully staged, their sounds remain vital clues for understanding the evolution of traditional Taiwanese operas and the intersection of "tradition and innovation."

．Immersive Atmosphere: Through soundscapes and multimedia design, visitors can relive the vibrant theatrical atmosphere of the traditional indoor theatre era.

．Rhythmic Dialogue: Listeners will experience the resonance between the percussion and melodies of various genres—such as Gaojia, Siping, and Luan-tan—discovering how their stories and rhythms converse with one another.

Curated by YUHUI FU

 Exhibition Sections     

1. Bloodline Genetics: The Cultural Imprints
The Assimilation and Evolution of Taiwanese Theatrical Genres
During the late Qing and Japanese colonial periods, Taiwan’s diverse immigrant theatrical genres—including the ancient vocal traditions of Nanguan, the folk-oriented Hakka Opera, the hybrid Gaojia Opera, and the linguistically adaptive Siping Opera—gradually assimilated into modernized Traditional Taiwanese Opera (Gezaixi) within emerging urban commercial theaters. The evolution of these genres illustrates how market competition and linguistic shifts dictate theatrical survival. Following World War II, a significant influx of renowned Peking Opera (Jingju) practitioners relocated to Taiwan. Notably, Gu Zhengqiu’s troupe inaugurated the historic "Five Years at Yongle" (1948–1953), establishing Peking Opera as a vital cultural cornerstone. Initially serving as a nostalgic emotional anchor for mainland immigrants, Peking Opera progressively integrated into the local society, ultimately enriching Taiwan’s dynamic and multicultural performative landscape.

2. Ritual and Festivity
The Lineage of Luantan and the Genesis of Taiwanese Opera
Among Taiwan’s extant theatrical genres, Beiguan and Luantan possess the most ancient vocal melodies, introduced from mainland China during the mid-Qing dynasty. Their percussive and metrical aria (banqiang) structures share a clear lineage with Peking Opera (Jingju) and Siping Opera. Taiwanese Luantan comprises two primary vocal systems: Xipi and Fulu. The synthesis of Xipi and Erhuang formed the Pihuang musical system, profoundly enriching the later development of Peking Opera. Crucially, Traditional Taiwanese Opera (Gezaixi) directly absorbed the music, repertoire, and ritualistic conventions of Beiguan and Luantan, including the indispensable prelude "Play of Immortals" (Banxianxi). Driven by fierce market competition, Luantan performers began blending Taiwanese-accented Huguang Mandarin with Taiwanese Hokkien dialect. This pivotal linguistic localization in their singing and dialogue made the birth and subsequent ascendance of Traditional Taiwanese Opera (Gezaixi) an inevitable historical progression.

3. Local and Original
The Commercial Peak and Decline of Indoor Theatrical Arts Traditional
Taiwanese Opera (Gezaixi) emerged in 1920s Japanese-built indoor theaters (neitai), while Glove Puppetry (Budaixi) arrived during the mid-Qing dynasty. Initially accompanied by Nanguan music, Budaixi later adopted Beiguan and rapidly localized post-war into dazzling forms like Jinguangxi. During the time of post-war, traditional indoor theater boomed, Gezaixi reached unprecedented commercial peaks through a dual-repertoire model: traditional plays (gulu) by day and hybridized Opera at night. To captivate audiences, performances heavily incorporated theatrical spectacles, including mechanical sets, vibrant lighting, and aerial martial arts after the World War II. Prominent troupes like Gongle She and Riguang spearheaded this golden age. However, by the 1970s, the relentless expansion of mass media—particularly television and cinema—alongside rising operational costs, forced indoor venues to pivot exclusively to film screenings.
 Consequently, Gezaixi was displaced from commercial indoor theaters, permanently retreating to outdoor temple stages (waitai).

4. Child Talents
Mai-liao Gong-le-she and the Era of Child Actors
This exhibition section centers on the Mai-liao Gong-le-she troupe, renowned for its exclusive indoor commercial theater (neitai) performances and for transcending traditional scenario-based (mubiaoxi) acting. Rather than implying the troupe consisted entirely of child actors (tongling), the orchestrated audio recordings explicitly highlight the unique performative merits of the gin-a-sheng (child young-male) role. During the post-war traditional indoor theaters boom (1950s–1960s), founder Chen Cheng-san built an unsurpassed commercial empire. He established seven sub-troupes and successfully expanded into televised opera and song-and-dance ensembles before their eventual dissolution in the 1970s. Central to this era’s success was the celebrated gin-a-sheng star Hsu Hsiu-nien. Numerous bespoke plays, including The Beggar Prince and The Little Heroine Red Butterfly, were meticulously tailored for her, cementing the troupe’s unparalleled legacy in the commercial history of Traditional Taiwanese Opera.

Organizer: National Center for Traditional Arts
Co-organizer: Taiwan Film and Audiovisual Institute
* The organizer reserves the right to make changes to the event.