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Introduction to Traditional Taiwanese Glove Puppets

Two-day workshop: Saturday 18 - Sunday 19 October

For ages 18+

Duration: 10am - 5pm both days

Book Tickets
£220.00 Adult

 

If the workshop is shown as ‘Sold Out’ above, you can join our waiting list here.

At Little Angel Studios

Sebbon St, London N1 2EH

Plan your visit

This workshop introduces the cultural and historical context of Taiwanese glove puppetry (pòo-t.-hì), focusing on its core character categories:

  • Sheng (male lead),
  • Dan (female),
  • Jing (painted face),
  • Mo (elder), and Chou (comic)

Participants will explore how stylised gestures, symbolic props, and minimal stage design come together to form a theatrical language rooted in rhythm, transformation and abstraction.

A particular focus is placed on how these formalised character types shape the storytelling process. Their distinct movement styles, costume silhouettes and behavioural patterns allow audiences to instantly grasp a character’s role, personality and moral stance.

This visual and performative clarity makes it possible to build dramatic tension and emotional stakes quickly, even in non-verbal or minimal-dialogue scenes. The stylisation is not only aesthetic but also practical, serving as an efficient narrative tool.

Please note that when you book a place, only the start date and time is shown on the booking system, but your ‘ticket’ covers the full event as detailed above.

Arthur C. H. Pai
Director / Producer / Puppeteer / Actor / Activist

Pai produces shows of his own and theatre companies, holding events and marches for LGBTQ+ community, he develops his practice as a theatre practitioner and political activist in Taiwan. He has been involved with almost hundreds of productions since 2010, mostly, as director or producer. His specialty is presenting his plays in an abstract and diverse way often with puppets, making use of diverse elements of unconventional material to cohere issues that happened in Taiwan.

 As an activist of LGBTQ+ community and a practitioner in theatre. He sees theatre art not only as an artistic aspect but also a greater form to reflect the society and culture of a place, especially standing at the side of the oppressed.

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