BIBLID 0254-4466(2001)19:1 pp. 329-353 19 1 90 6 * 329

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331 6 85 1996 15 7 8 9 10 135 1920-1995 1887 1871-1893 6 3 30-88 7 1996 8 9 10

332 191 1892-1962 11 1947 1947 88 1950 1903-1981 12 1923 157 8 46 59 59 69 11 130 111 12

333 66 13 14 A. A. A. A. A. 1-27 1-17 1-11 20b-23a 58-65 90-95 B. I B. I B. I B. B. 13 19541983 1983 14 1970

334 191 27-37 17-26 11-15 5b-6b B. II B. II B. II 98-102 B. I 37-41 26-30 15-17 B. III B. III B. III 143-145 B. II 41-50 30-38 17-21 C. C. C. C. C. 50-75 38-61 31-38 10a-12a 111-116 163-166 D. I D. I D. I D. I D. I 75-82 61-68 38-40 15b-16a 125-126 182-183 D. II D. II D. II D. II D. II D. I D. I D. I 82-86 68-72 40-42 17b-18b 130-132 188-190 E. E. E. E. E. 86-106 72-88 42-53 24b-26a 151-154 213-215

335 F. F. F. F. F. 106-107 53 21b 142-143 201 G. G. G. G. G. 107-135 53-68 22b-24b 145-151 205-209 A. 15 16 15 1600 1984 16 39 1611 1984

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341 29 1764 B B B B B 1599 29 1600 30 1987 29 36-37 30 26-27

342 191 C C 60-61 80 80 1599 31 32 33 31 1984 32 1602 1800 33

343 29 4 34 29 35 36 1984 8 34 156-159 35 51 36 1987 2836-2837 1967 11-12

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345 40 A D II E 38 41 42 43 40 131-132 293-298 41 1984 42 1984 43 1943 97-1001987

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347 36 G 44 45 44 6 1984 45 1987

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352 191 A Discussion of the Taiwanese Shadow Play Cai Bojie Fong-hsiung Lin Abstract In examining the Taiwanese shadow play Cai Bojie, we can find traces of the Ming dynasty Qingyang opera The Pipa Romance. Moreover, we also find that the practice of performing excerpts from the popular Qing dynasty Kun opera version of The Pipa Romance influenced the division of scenes in the later Chaozhou shadow play version of Cai Bojie. The great creativity of Chaozhou shadow play artists can be seen in such scenes as Zhao shi le lu, where in a long self-guestioning soliloquy, Zhao Wuniang expresses her deep inner dissatisfaction with Cai Bojie, creating a sense of tension and confrontation that pushes the play towards its climax. No later than the era of the Dongshan Clan Manuscript, the Chaozhou shadow play artists began placing the Zhang gong sao mu scene before the Bojie ren xiang scene in their performances. The behavior of Li Wang, and his dialogue with Zhang Guangcai, assuages the audience s dissatisfaction with Cai Bojie. This marks the shift from confrontation to reconciliation in the story, and better prepares the audience for the tragic reunion between Cai Bojie and Zhao Wuniang that follows. The author therefore finds the Taiwanese shadow play version of Cai Bojie to be quite praiseworthy in terms of structure and plot development. Starting with the Huang men shang zou scene, the Taiwanese shadow play Cai Bojie gives full expression to the despair felt by Cai Bojie due to the * Fong-hsiung Lin is an associate professor in the Graduate Institute of Art Studies at the Chinese Culture University.

353 conflict between his official duties and marriage. Moreover, the play is successful, within a limited plot structure, in richly portraying the characters of the loyal Cai Bojie, the faithful Zhao Wuniang and the upright Zhang Guangcai. This dramatic expression seems to bring us closer to the true message of the Pipa Romance. Keywords: Taiwanese Shadow Theater, Cai Bojie, Chaozhou Shadow Theater, Qingyang Opera