Traditional Chinese Theater is a singing and dancing performances, which has been raised to the level of art. At it’s highest plane it reaches an ideal state where every sound is a song and every movement is a dance. The movement we make in our daily lives under goes a transformation in the Chinese opera stage. They are pared down to easels and express in a new form in this way speech is made into song and movements are made into dance. Taiwanese opera has also inherited some of these elements from traditional Chinese opera but there application is not as strict as traditional opera’s such as Peking opera. 

Early Taiwanese opera were very careful which gestures they adopted from other operas for they were very particular about this aspect of their art. After the end of the Sino Japanese war of 1895 when Taiwan was seeded to Japan Taiwanese opera was banned under the circumstances change was inevitable. The opera was changed into something called new theater although in reality it was neither new nor old. Many new elements of realism were added to local drama at this time. After Taiwan returned to Chinese rule the actors of the new theater returned to Taiwanese opera but some of the elements of realism had learned had returned with them. So it was that Taiwanese opera became a half-representative half-realistic opera with out anyone really being around it. As for the spoken parts except for an occasional word or two in classical Taiwanese, which has a more musical quality the vast majority, were in calorkal Taiwanese. 

This is how young male leads make their entrance and exits there are few key movements involved here such as setting on a chair and walking over the thresh hold which can not be neglected. 

Whether Marshall or literally examples of the Taiwanese opera pulling a mountain is used to mark an entrance. 

The walking a circle movement in Taiwanese opera is virtually identical with the Peking opera equivalent. 

A performer walks this way when there is some emergency or when he is in distress. 

The small prick step movement is also used in situations of urgencies.  

This gesture is frequently employed in the flames of disasters or in the pros of grief. 

The performers use the back jump when the actions are tense or when there is great sorrow. They are also used when being chased or being beaten up. 

This gesture is used in moments of high anxiety such as a mans grief upon hearing the news of someone’s death. It is also employed when the character himself dies in a drama. 

The water sleeves gesture is used just as often in Taiwanese opera as the pulling the mountain gesture. Individual performers invent many of their own variations of this movement. 

This movement is performed by male leads at a point in the opera when they are being lead onto the stage to be executed or clammily. 

This jester is implored by martial male lead when revealing the troop in preparation for war. 

The jesters for mounting this mountain and galloping are all common occurrences in performances of Taiwanese opera. But the minuet-detailed work of washing a horse is a rare treat. 

When directions are being given or introductions are being made in the opera the besides words a refined jester can explain a situation even more clearly and add tremendously to the affect. 

In the world of theater it is only natural that actors and actress learn their trade by observing and immolating the work of other actors. Because the absorb influences from each other and because esthetic taste differ from individual to individual. Many of the jesters of Taiwanese opera contained the shadow of jesters from other forms of theater. Whether transplanted folk tail from another medium or formed by fusion with another form. The beauty of the jester in Taiwanese opera is really marvelous to behold. 

The jester of walking begins with pulling the mountain movement only after this poster is achieved can the female character begins to walk the circle. 

The tiptoe jester is used by female characters when they wish to change their stride. 

Female characters have a lot of room for individual creativity in a performance of the water sleeves jester. 

The female characters have to pay attention to the change in stride when crossing the thresh hold. 

When the mood of the play turns sorrowful or anxious or when a male or female character is being hunted or beating to death he or she will employ this jester. 

This movement is accomplished by keeping the feet together and moving sideways by first rocking on the heel and then on the balls of the feet. 

This movement is the performer a little bit of the flavor of a quick witted mischievous young girl. Peking opera uses the same movement. 

There are two method of performance of the ginger sprout hand in Taiwanese opera this is the equivalent of the orchard finger jester in Peking opera. 

When using ones own name or addressing others there are hand movements that accompany this act. They make this action more esthetically more appealing and they add empathy. 

When female character come on stage they must make the three compulsory jesters that is they must swing their sleeves, rub the hair on their temples, and adjust their collars. Female leads must achieved refinement composure on the inside for these qualities to show on the outside. 

Lifting first the left and then right foot moving the head and shoulders and doing the heel and toe walk are among the action to indicate going up and down stairs. These jesters need to be performed very clearly. 

First extent the left arm while the right arm goes across the door to pull the bolt free afterwards pull the first half free and then the left half of the door, thus completing the movement of opening a door.       

This jester is a skill usually the province of the supporting flamboyance female character. The jester must be performed both on the left and the right to complete rolling up both sides of the curtain.

CHINESE LANGUAGE

The jester of doing embroidery maybe performed by both minor and leading female characters. The performer makes sure their eyes fallow the direction in which the thread is being drawn. When the body bends to the right then the eyes must look to the left at the same time the body must remain flexible. 

Often in a drama the husband and wife or a pair of lovers are in a situation where they are being chased or in which they have fallen into a difficult situation. When the male lead has no choice but to leave and the female lead can not go with him grounds such an intolerable situation would provoke them to synonymously perform the swinging of the hair jester. 

When both the male and female lead encounter some emergency or fleeing for their lives they will together perform the looking both ways jester. 

These jesters themselves are living part of the drama designed by performers in accordance with there stage experience and when applied where appropriate. There are set movement for the stock action to the drama such as exits by a door in accordance with the plot. Most of jesters of Taiwanese opera however such as doing embroidery or washing cloths or water sleeve need a great deal of room for the performer. There for the fusion of jesters into a performing art with the power to move an audience is often is something that happened introspectively over time. The first experience to precious generations is passed down in a form of these jesters.