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Children’s Taiwanese Operas are custom-made Taiwanese Operas, specially tailored to suit children’s mental processes and their specific needs. On the one hand they are both entertaining and educational, and on the other they present the artistic beauty of Taiwanese Operas to children by gradually bringing them in contact with the culture of Taiwanese Operas. Consequently, different consideration is given to the preparation of scripts and music for Children’s Taiwanese Operas.
Established in 2000, High Sun Taiwanese Opera introduced a series of four Children’s Taiwanese Operas between 2000 and 2007 and made them popular among domestic theaters, communities, campuses, and the general public. This thesis endeavors to inquire into these four dramatic works: “A-San-Go the Donkey,” “Who Stole the Treasured Sword,” “Umbrella and Thin Noodles,” and “Who Is to Receive the First Prize.” It attempts to analyze and examine their subjects and plots, the application of drama language, the apron tune patterns, the back stage music, and the organization of band, to understand their creative qualities and presentation techniques.
Some of the distinctive dramatic and musical qualities identified include clearly defined subject matters with simple plots, an integration of fun into learning, application of rhetorical words, proverbs, catchwords, and pet phrases for a more interesting drama language. These four Children’s Taiwanese Operas also use Mandarin, reciprocal actions and content, including dialogue with audience, to interact with and shorten the gap between the actors and the children audience. In addition, they all employ traditional melody of Taiwanese Operas to preserve the musical style of this form of art, and add other musical elements to arouse the interest of children. To build a cheerful atmosphere and to enrich the musical effect, theme music, played repeatedly, rhythmic variations, and karaoke are often used.
It is hoped that the key points identified and discussed in this thesis could be used as a source of reference for future Children’s Taiwanese Operas. It is also suggested that domestic opera troupes make good use of the core elements of Taiwanese Operas, balance between tradition and innovation, continue to raise the actors’ professional capabilities, cooperate with children’s theaters, and more opera troupes participate in producing and popularizing Children’s Taiwanese Operas. So more children have an opportunity to enjoy their performance, become acquainted with this form of art, and grow to be future audience of Taiwanese Operas, so that this traditional dramatic art can be continuously passed down to future generations.
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