Fifth Issue

eference to the existence of twelve troupes in Beijing, as well as performances in France
(Paris, Marseilles) in 1767 and in England in 1776, during the reign of Emperor Qianlong
(1735-1799).
The Shadow Theatre, following the route of the general developments in China at the
time, decays around the end of the Qing dynasty (1644-1911). Shadow Theater players
are prosecuted on charges of assisting rebels that oppose the unbearable taxation,
presented in the performances figures of rebelled farmers.
The Shadow Theatre was spread throughout China, but its forms and music are
distinct because they reflect the local characteristics and traditions of each region. Thus,
each region, depending on its character, has to show figures with diverse characteristics.
One of the best known is the
Shaanxi Shadow Theatre, which
reached its peak at the end of the
19th and beginning of 20th century.
Its unique development is indicated
by the big number of troupes, as well
as the fine artistic shape of the
puppets. The rich tradition of this province, that accommodated the first capital of the
united Empire (221B.C, Qin dynasty), as well as capitals of other dynasties, including the
great Tang dynasty (618-907), is easily detected through the puppetry and themes. Grand
courts and military fortresses, romantic pavilions and caves of Buddhist carved statues,
earthly Edens and fiery Hells, animals, real and fictional, soldiers and acquaintances, all
are cramped on the theatre stage. Great attention is paid to details, on the designing as
much as on their symbolism. For example, long and narrow eyes symbolize a good
character, triangular eye form is the sign of a sly and bad man, and round ones represent
the brave and courageous warriors. Furthermore, what noteworthy is the Shadow Theatre
of Zhejiang in the 12th century, when the Southern Song moved their capital to
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