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Notes
1 Text in the introductory section of this report in quotations but not otherwise attributed is from the postings about the symposium or the exhibit on the BIMP website: bimp.uconn.edu (still available as of March 5, 2013).
2 Known as the Molly McGuire Collection, this collection of about one hundred pieces was originally purchased in China by Pauline Benton for her friend, the storyteller Pauline McGuire, and found its way to CTW in late 2010. See http://www.chinesetheatreworks.org/w/education/exhibitions, accessed April 1, 2013.
3 Part of the film Chinese Shadow Play, produced by Wango H. C. Weng and China Film Enterprise of America, 1947, 11 minutes.
4 Humphrey’s shadow theater activities include publishing “Yueh Lung Shadow Theatre: An Example of Cultural Preservation,” CHINOPERL Papers 10 (1981): 141-66.
5 The title of the book seems now to be Shadow Woman: The Extraordinary Career of Pauline Benton, but the title being used at the time of the lecture, according to publicity for it, was Catch the Monkey King: Pauline Benton and the Race to Save Chinese Shadow Theatre.
6 Liu was a senior at UConn at the time of the symposium. She helped perform the PAP production “Butterfly Dreams” at the UNIMA (Union Internationale de la Marionnette) Festival in Chengdu. That piece, which deals with Zhuangzi’s famous dream, was created by PAP alumni Hua-Hua Zhang and David Regan, and PAP Director Bart Roccoberton. The puppets used in the production were donated to the new museum devoted entirely to puppetry in Chengdu. A Summer Undergraduate Research Fellowship allowed Liu to stay in China and conduct research for the rest of the summer.
7 Sixteen photographs, showing details both behind and in front of the screen/scrim, of Qin performing in the theater have been posted on Dongfang chuanmei wang 東方傳媒網 under the title “Piying rensheng: Mengze yingxi guan” 皮影人生: 夢澤影戲館 (Shadow theater and human life: Mengze shadow theater) at http://www.tvcm.cn/html/photo/20100120/5514.html, accessed March 5, 2013.
8 http://www.tudou.com/programs/view/ecO3XSzBQvA/, accessed March 5, 2013, shows elements of the ceremony when Qin took Liu as a pupil.
9 Rollins is a puppeteer with an MFA in theater design from the University of Minnesota. She studied traditional Chinese shadow theater in various regions of China on a Fulbright Scholarship in 2011. She has created a website on Chinese shadow theater: http://www.chineseshadowpuppetry.com/.
10 This piece was developed in 1952 by Hunan shadow theater artists inspired by the visit of a Russian puppeteer and his animal allegories. A painter, Zhai Yi 翟翊, helped in the design of the play, which originally featured an egret rather than a crane. Wei Liqun 魏力群, Jidong piying xi 冀東皮影戲 (Hebei shadow theater; Beijing: Kexue chuban she, 2009), pp. 82–86, describes the creation of the play and its spread to Tangshan. Rollins has written on what she calls “The Tortoise and Crane Phenomenon” on her blog, http://annierollins.wordpress.com/2012/01/29/the-turtle-and-crane-phenomenon/, accessed March 5, 2013, which includes still photos of productions of this play by a wide variety of shadow theater troupes.
11 Pan has the singular honor of having his name appear in the title of a four-disk VCD set: Pan Jingle piying mingxi jingxuan 潘京樂皮影名戲精選 (Finely chosen anthology of Pan Jingle’s famous shadow theater pieces), published by Xi’an dianying zhipian chang luyin luxiang 西安電影製片廠錄音錄像. The set is undated but predates the establishment of Yutian she.
12 Photos number 6 and 7 of the collection of sixteen photos of Qin and his theater available on the web mentioned above show him holding the microphone as he performs, accessed March 5, 2013.
13 Lu Fuzeng has a blog: Tangshan Lu-shi piying diaoke jiyi 唐山卢氏皮影雕刻技艺, http://blog.sina.com.cn/lufuzeng.
14 I was introduced as an independent scholar, translator of Chinese shadow theater, and former Curatorial Assistant at the Seattle Asian Art Museum.
15 Chen is an associate professor at the University of Albany and is the author of Visions for the Masses: Chinese Shadow Plays from Shaanxi and Shanxi (Ithaca: Cornell University East Asia Program, 2004) and Chinese Shadow Theater: History, Popular Religion, and Women Warriors (Montreal: McGill-Queens University Press, 2007), as well as numerous articles on and translations of Chinese shadow theater.
16 Chen’s translation of the second part of this play appears in this volume. She showed clips from several shadow theater versions of the White Snake legend at the annual CHINOPERL conference, March 21, 2013.
17 At this point the timing and order of presentations departed from the published schedule of events.
18 http://www.drama.uconn.edu/puppetry/home.html, accessed March 5, 2013.
19 Bradford Clark is Professor of Theater and Film at Bowling Green State University, and Curator of Collections at the Center for Puppetry Arts in Atlanta, Georgia.
20 A summary of the results of the survey was published by Chen and Clark as “A Survey of Puppetry in China (Summers 2008 and 2009),” Asian Theatre Journal 27·2 (Fall 2010): 333–65.
21 Nanyue means “Southern Marchmount,” one of the titles given Mt. Hengyang.
22 Prior to this, we were asked to identify some video footage of shadow theater. Many of us recognized the footage as from Taiwan and dating to the 1970s.
23 A description of the production is posted on the website of the troupe: http://www.chinesetheatreworks.org/w/kunshadow-whitesnake/. The description highlights the fact that some of Benton’s original figures and scenery are used in the production.
24 Kathy Foley is Professor of Theater Arts at the University of California, Santa Cruz, and has been trained to perform Balinese wayang golek rod puppet theater. She is the editor of Asian Theatre Journal.
25 John Bell was a long time member of Bread and Puppet Theatre and is co-founder of Great Small Works. He has collaborated with Stephen Kaplin. As noted above, he is currently the director of BIMP.