Debate on opera's origins rages on

The Taiwan session of the "2001 forum of cross-strait exchanges on Taiwanese Opera Development'' closed on Sept. 4 in Ilan, and the China session will begin in Zhangzhou (漳州) today and last for another six days.

As during previous seminars dealing with the issue, the debate over where Taiwanese Opera originated was inconclusive.

The Forum was organized by the Council for Cultural Affairs.

Ilan-origin Theory

Scholars and researchers from both sides of the Strait agree that Kim Kua (錦歌), introduced by migrants from Zhangzhou to Tai-wan, during the Ming and Qing Dynasties, is the earliest form of Taiwanese Opera.

Researchers from China and Taiwan also acknowledge that Taiwanese Opera was greatly influenced by Peking Opera. During the 1910s, Peking Opera troupes from Shanghai and Fuzhou frequently came to perform in Taiwan. Some members of Peking Opera troupes later joined Taiwanese Opera troupes as opera directors or trainers.

Lin Mao-hsien (林茂賢), professor of the Department of Chinese Literature at Providence University, presented a paper based on the Ilan theory titled, "A study on local ballad" at the forum. Ilan theory suggests that Taiwanese Opera evolved from a minor form of opera called "Lo-deh Sao" (落地掃) -- literally, sweeping the ground before performance -- which is still performed in Ilan.

According to Lin's paper, Tai-wanese Opera originated in Ilan. Lin cites three texts to support his argument. The paper notes that both the Annals of Ilan County and the Annals of Taiwan Province say that Taiwanese Opera originated in Ilan and that performances of Taiwanese Opera in Ilan had been reported in the Aug. 15, 1905 issue of the Taiwan Jih Jih Shin Po. In addition, Lo-deh Sao is still performed in Ilan

If Lin's theory is correct, Taiwanese Opera initially began as traditional ballad singing and then transformed into Lo-deh Sao; generally rendered by two or three singers and accompanied by a few musicians playing local instruments.

The plays took place for the most part at public squares in the countryside, in the courtyards of temples during ceremonies or in street parades. After Lo-Deh Sao absorbed performing styles and techniques from major operatic forms such as Chia-ko Lang (車鼓弄) and Ke-ka (高甲) and adopted instruments such as drums and gongs, it became a sophisticated opera in its own right, performed on stage.

Although doubts about Ilan theory have been raised within academic circles over the past 20 years, Ilan theory seems to have become widely accepted. A documentary by the National Taiwan Junior College of Performing Arts,which set up its own Taiwanese Opera department in 1994, credits Lo-deh Sao as the predecessor of Taiwanese Opera.

"Yes, we credit Lo-deh Sao as the original type of Taiwanese Opera because Ilan theory is well established and widely recognized," Lin Sien-yuan (林顯源), director of the department of Taiwanese Opera, told the Taipei Times.

The Council for Cultural Affairs also credits Ilan as the homeland of Taiwanese Opera, not only through organizing the forum in Ilan, but also by planning to set up the National Center for traditional arts in Ilan county.

Even Chinese scholars support Ilan theory. When commenting on Lin's paper at the forum, Chen Keng (陳耕), dean of the research institute of Taiwanese arts in Xiamen, backed up Lin's argument, but said Ilan theory still needs more evidence to overcome any dispute.