温州90后女孩的“线线连偶，十指绝艺”| Traditional Puppet Show

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Located in the south of Zhejiang Province's Wenzhou city, Pingyang County is the hometown of the amazing provincial intangible cultural heritage: the Pingyang puppet show.

浙江省温州市南部，有一个小县城，名叫平阳。地方虽小，却孕育了一种精彩的浙江省非物质文化遗产——平阳木偶戏。

The show has a long history and remains profitable. Aside from traditional theatrical pieces, modern shows with foreign features can also be seen on the stage. The Pingyang Puppetry Troupe (currently Pingyang Puppetry Protection and Inheritance Center) is the oldest puppetry troupe in China specializing in children’s plays.

平阳木偶戏历史悠久，长盛不衰。既有传统戏曲剧目，也有现代创作、融入异国文化的故事。平阳木偶剧团（现平阳木偶戏保护传承中心）是全国最古老的木偶剧团，在儿童剧方面独树一帜。

The puppets are delicate and vivid. Most of their joints and facial parts can move freely, allowing them to do almost anything: serve tea, sing and dance… a piece of cake.

舞台上表演的木偶不仅制作精致，动作神情还惟妙惟肖。关节、面部都有不少可动机关，端茶倒水、唱歌跳舞……都不在话下。

Yet, behind all that are the skillful hands of the puppeteers. 

这背后，是木偶剧演员的巧手。

"Manipulating a puppet is like playing the piano," says Lin Si, 24. "Attached to your ten fingers are more than 30 threads. Every single movement of the joints, the eyes and the mouth, is for you to control."

“练习木偶戏和弹钢琴是一样的。” 今年24岁的林思说。 “10根手指要控制木偶上的30多根线。每个关节，甚至眼睛嘴巴都要通过一根线去控制它。” 

Lin is a new-generation puppeteer of the Pingyang puppet show. Her father, a member of the troupe, used to take her to see the troupe's performance when she was younger. "I found the puppetry very interesting, yet never expected to be sent to study in Shanghai Theatre Academy."

林思是平阳木偶剧的一位新生代演员，她的父亲也是剧团成员。小时候，她就经常和父亲一起到剧团看演出。“那会儿只是觉得木偶是挺好玩的，谁也没有想到团里当时就选人去上海戏剧学院学习木偶。然后呢我就选上了。”

There were 8 students chosen from the Wenzhou area, 7 of whom stayed in Shanghai after graduation. Only Lin went back to her hometown and joined the Pingyang Puppetry Troupe.

当时，包括林思在内，一共有8个温州地区的学生。另外7个人毕业后都选择留在上海，只有她回到家乡，进入平阳木偶剧团。

"The most difficult part of training was holding the puppets. You have to hold them still for more than half an hour," says Lin. "I couldn't lift my arms for days after that." Being shorter than other performers, she has to wear high heels in order to keep the puppets at the same level, which makes it more laborious for her.

“学习上最难的一件事情就是练举功。就是你得举着木偶不能动，一举就是半个多小时。”林思说，“有时候练下来，胳膊好几天都抬不起来。”另外，林思个子比较矮。为了能把木偶提起来，就得穿高一些的鞋子，所以操作起来更加辛苦。

Lin is pretty versatile. She can perform and make the puppets. The troupe's puppets can't be mass produced, as each is unique. For example, their joints are designed separately to move in different ways. And a special switch is required to put on and lift the hat.

林思还是一位“双料选手”，既学习木偶表演也学习木偶制作。剧团所用的木偶都不能机械生产，只能手工制作，这是因为每个木偶都不一样。比如许仙、白蛇的行为举止有区别，他们的关节设置便要作出相应调整。济公的帽子要摘要戴，还要设置专门的机关。

Like many other traditional arts, the Pingyang puppet show has a limited audience. The long training process results in gaps between generations of performers. All the other artists of the troupe are in their 40s or 50s. As the only young performer, Lin has to take part in important annual shows to improve herself. "I want to do my best on the stage, so as not to put my efforts in vain."

和许多传统艺术一样，平阳木偶戏的受众比较窄，培养人才时间长，故而面临断代。在团里，林思的上一辈全都在四十岁以上，一级演员普遍超过五十岁。作为唯一的年轻人，林思也得参与年度大戏，磨砺自己。“我要把最好的状态留在舞台上，起码对得起自己受的这么多苦吧。”

Lin is actually a fashionable girl off the stage. Flexible fingers make her formidable in some popular mobile games. "If I could make the puppets out of the game characters, perhaps our puppetry would attract more attention of the younger generation," she said.

She hopes that someday that would finally come true.

走下舞台，林思其实是个很潮的女孩儿。灵活的手指助她在手游中一路打到最强王者。“如果把游戏角色做成木偶，是不是能吸引更多年轻人来看木偶戏呢？”她期待着有一天，这个想法能变成现实。

Cameraman: Dong Qinli

Film editor: Liu Xiao, An Yang, Lu Gengrui

Story written by: Zhu Siqi

English editor: Bertram Niles

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