Pu Tai Hsi, the traditional Taiwanese puppet show, was developed in the Southern Fukien region of China and was introduced to Taiwan by immigrants from Chuanchou and Changchou. The art form's attributes, including puppets, stage, costumes, music and script are closely related to other folk arts such as carving, embroidery, music and literature. According to a colorful local description, puppetter of the Yi Wan Jan troupe in Taipei, Li Tian-lu, has accomplished the feat of "relating the events of one thousand years with one word, and conjuring up one million soldiers with 10 fingers."(For most of his life) he has immersed himself in a world of make-believe which reflects reality.

　Li became an apprentice to his father in the art of puppetry at the age of 11, and three years later set out on his own. Ever since he has been touring towns, and most recently countries, putting on his performances of Pu Tai Hsi.

　No one knows for sure when Pu Tai Hsi originated, but according to the traditional stories in Chuanchou, it was started about 300 years ago by a failed scholar named Liang Ping-lin. The story goes that while Lin was on his way to Peiping to take part in the annual examinations, he dreamt he met an old man who read his palm and pronounced: "Success is within your palm." Liang felt sure this meant he would pass his examinations. But he failed, and returned home to try another field of endeavor--the art of puppetry. Later he started to give performances based on traditional scripts of books and poems. As his fame spread, people came from all over to watch, and Liang began to realize what his dream meant. Eventually, he incorporated other arts into his puppetry, including carving, embroidery and music, and it was in this modified form that Pu Tai Hsi came to Taiwan.

　Li Tian-lu still performs in the classic Chuanchou style. He uses a carved wooden stage, music from traditional operas, speaks in Taiwanese and bases his plots on traditional stories. He claims he is the only puppeteer in Taiwan who keeps alive the pure traditions. Other exponents of Pu Tai Hsi have adopted modern music, stories and language and movable stages, not to mention spotlights and microphones.

　One of the most obvious differences today is in the puppets. The traditional versions are not only smaller than the modern ones, but also are more painstakingly made. Each puppet in the old style is hand carved, and its costumes are stitched and hand-embroidered. Says Li: "When the clothes wear out, I replace them. The heads of former times were made of wood, and had much more detailed handwork. The heads today are of much lower quality; hit them once and they fall apart."

　He continued: "The characters in classical Pu Tai Hsi are governed by traditional practices as to how they enter and exit. There is a way to sit and a way to walk. In three years, you cannot master all the techniques. Now people study for three months and perform in whichever way they want. I really don't like it."

　Since he has had only two years of schooling, Li is not concerned with such concepts as "art" or "carrying on traditions." He only knows he cannot give up performing, and that he cannot adopt the current style of Pu Tai Hsi, which he considers to be undisciplined and impure. Few have the determination he shows to stick to the traditions of the old school.

　Strangely, although Li is not widely known in Taiwan, his fame has recently spread worldwide. He has made successful tours of Hong Kong and Europe, and currently is teaching several French students the art of Pu Tai Hsi. One of his students has already returned to France and established a company there, using the traditional carved wooden stage and small puppets. He has even recorded Li's voice to use during performances. Even if Pu Tai Hsi is slowly changing in Taiwan, it is being kept alive in its original form overseas by Li's students.