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Interview I
Chen Guanlin is a master disciple of national treasure puppeteer Chen Xihuang. He began learning traditional glove puppetry in middle school, mastering the “Wanran” style. Chen also served as a key member and lead performer of Chen Xihuang’s troupe, helping preserve and pass on traditional glove puppetry.
This is the “Sheng” in glove puppetry, the main male role and usually the hero. Wen Sheng is gentle, Wu Sheng is strong. They can be children (Tong Sheng), youth (Xiao Sheng), or old (Lao Sheng). Wen Sheng plays scholars or kings (e.g., Shi Yanwen), Wu Sheng plays generals or swordsmen (e.g., Zhao Yun), and they are central to the story.
In glove puppetry, the “dan” roles are all the female characters. They have different types, such as young girls, ladies, married women, and old women. Their clothes and hair look different, and they can be kind, strong, or even bad. The “dan” role is one important part of traditional puppet shows.
In glove puppetry, the “jing” role is also called the “painted face.” It shows male characters with strong colors or patterns on their faces. They are often brave, loud, honest, or sometimes tricky, like Zhang Fei or Judge Bao. The puppets usually have big heads and strong facial features to show their bold or sneaky personality.
In glove puppetry, the “mo” role (also called “Gong Mo” or “Bai Kuo”) is for older men with white hair or beards. Compared to the “lao sheng” role, “mo” characters look older, walk slowly, and move slowly. Common types include the all-white-haired “Chun Gong,” the “Guai Laozi,” or wise old men. They show the image of old age in traditional puppet shows.
In glove puppetry, the “chou” role is the funny character. They make the show fun and happy. They often have curved eyebrows, small eyes, and big smiles. They can be playboys, servants, or helpers. They speak freely and sometimes talk to the audience.
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