Narrator:

In Hong Kong, puppetry is commonly divided into four main forms. Each with its own technique, control system, and performance style. All of which demand precision and control.

Wong Fai / Master Puppeteer:

“In traditional Chinese opera, puppetry came before live theatre, so puppetry should rank among the earliest of the hundred theatrical arts. Unlike Western string puppets, Chinese string puppets use many loose ‘live strings’, allowing for more flexible and expressive movements.

Rod puppets are also known in Hong Kong as neck-grab puppets or hand-supported puppets. In the past, the control rod reached up to here, and this mechanism controls the eyes. Glove puppets can be performed by one person, even with a single hand. One performer can manipulate one puppet, or even two. 

As shadow puppets evolved, additional control rods were added to improve movement. Today, each puppet has five control rods and is usually operated by two people.”

Narrator:

Since first discovering puppetry in the early 1970s, Wong has spent more than half a century learning, performing and preserving the craft. Driven by a lifelong commitment, he simply refuses to let the art form fade.

Today, he continues to learn and hopes one day to establish a Hong Kong puppetry museum. A place where young people can study the craft and help ensure this unique heritage is passed on to future generations.