Er-Lun Township Liao Wen-He Puppetry Troupe

Yunlin Attractions

二崙鄉廖文和布袋戲團
二崙鄉廖文和布袋戲團

Mr. Liao Wenhe started playing glove puppetry at a young age. His puppets are larger than usual, and the performances are lively and exquisite, paired with beautifully crafted stories. He can change his voice to portray over twenty different characters, making each show attract a full crowd. He has also been invited to participate in ticketed performances abroad, bringing Taiwan's traditional art to the international stage. The Liao Wenhe Puppet Troupe was established in 1976. In the past, during a time when television was not yet widespread, troupes around the island performed in theaters and outdoor venues, successfully drawing in audiences. However, with the rise of television programs, watching TV gradually became the primary leisure activity for the public, leading to a significant decline in glove puppetry audiences. Not succumbing to the declining trend of puppet shows, Liao Wenhe invested heavily in a major reform of glove puppetry, expanding the stage, purchasing additional performance equipment, and dedicated to the art of glove puppetry. His troupe features the most ancient traditional small puppets and has pioneered the largest deity puppets in the country and the biggest stage setups, with an enormous backdrop measuring 100 feet wide, continually experimenting with ways to improve glove puppetry performances.

Address:No. 19, Shao Xing Road, Erlun Township, Yunlin County

Er-Lun Township Liao Wen-He Puppetry Troupe Introduction

Mr. Liao Wen-he started playing puppetry from a young age. His puppets are larger than usual, and the performances are vivid and exquisite, coupled with well-crafted storylines. He is able to change his voice for over twenty different characters, attracting large crowds at every performance. He has even been invited to participate in ticketed shows abroad, bringing Taiwan's traditional art to the international stage. The Liao Wen-he Puppet Troupe was established in 1976. In the past, before television became widespread, theater troupes across the province could attract audiences with performances in theaters or outdoor venues. However, as television programs gained popularity, viewing television gradually became the main form of leisure for the public, leading to a significant loss of puppetry audiences. Liao Wen-he did not succumb to the decline of puppetry; instead, he actively invested heavily in a grand reform of puppetry, expanding the stage, purchasing additional performance equipment, and dedicated himself to the art of puppetry. He combines the most ancient traditional small puppets with the creation of the largest celestial puppets in the country, along with the largest stage settings, featuring an oversized backdrop of 100 feet wide, constantly experimenting and improving the performance methods of puppetry.

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