In her study of Chinese shadow theatre Fan-Pen Li Chen documents and corrects misconceptions about this once-popular art form. She argues how a traditional folk theatre reflected and subverted Chinese popular culture.

This comprehensive book explores the Malaysian form of shadow puppet theatre, highlighting its unique nature within the context of Southeast Asian and Asian shadow puppet theatre traditions. Intended for a Western audience not familiar with Asian performance and practices, the text serves as a bridge to this highly imaginative form. An in-depth examination of the Malaysian puppet tradition is provided, as well as performance scripts, designs for puppet characters, instructions for creating a shadow screen, and easy directions for performance. Another section then considers the practical, pedagogical, and ethical issues that arise in the teaching of this art.

This collection of Chinese shadow plays contains seven selected traditional shadow plays from the Qing and early Republican periods from Shaanxi and Shanxi. A minor operatic genre, the Chinese shadow theatre provides one of the best avenues for examining the mentality and sense of humor of the silent masses. Although Shaanxi sports the largest number of shadow traditions in China and is where the art form is most vibrant, its shadow plays have never before been published in either Chinese or English. Translated from rare hand-copied play scripts, this volume includes the most literary and refined plays of the genre as well as coarser popular plays and farcical Post-midnight skits. It also features a survey of the state of the shadow theatre in contemporary China, extensive critical introductions and bibliography.

Kansas-born Pauline Benton (1898-1974) was encouraged by her father, one of America's earliest feminist male educators, to reach for the stars. Instead, she reached for shadows. In 1920s Beijing, she discovered shadow theatre (piyingxi), a performance art where translucent painted puppets are manipulated by highly trained masters to cast coloured shadows against an illuminated screen. Finding that this thousand-year-old forerunner of motion pictures was declining in China, Benton believed she could save the tradition by taking it to America. Mastering the male-dominated art form in China, Benton enchanted audiences eager for the exotic in Depression-era America. Her touring company, Red Gate Shadow Theatre, was lauded by theatre and art critics and even performed at Franklin Roosevelt's White House. Grant Hayter-Menzies traces Benton's performance history and her efforts to preserve shadow theatre as a global cultural treasure by drawing on her unpublished writings, the recollections of her colleagues, the testimonies of shadow masters who survived China's Cultural Revolution, as well as young innovators who have carried on Benton's pioneering work.