Abstract:

​In Asia, the transmission of many traditional performing arts, such as China's Peking Opera and Japan's Kabuki, has historically relied on a closed-system apprenticeship model. Students typically enter specialized schools from an early age and continue their training until adulthood. This insulated educational structure is crucial for maintaining the integrity of the culture and ensuring the faithful inheritance of centuries-old techniques.

​Taiwan's Peking Opera education followed this tradition, employing a closed-campus system to shield students from external cultural influences. This approach was highly effective, cultivating numerous celebrated artists—including Cao Fu-Yong, Zhu Lu-Hao, and Wei Hai-Min—who toured internationally hundreds of times between the 1960s and 1990s. Among them, Wu Hsing-Kuo is perhaps the most widely recognized figure in the global performing arts scene.

​However, since 2000, Taiwan’s Peking Opera education has transitioned toward a vocational-like training model, abandoning its closed-system insulation. This shift has progressively led to deficiencies in cultural transmission. A critical dilemma is whether the profession can be sustained: out of Taiwan’s 21 million inhabitants, only about 200,000 constitute the primary audience for Peking Opera. Given the extremely small scale of the industry, it appears insufficient to support the livelihoods of its practitioners. The decision to convert Peking Opera education into vocational training, without adequate industrial support, seems to have been problematic from its inception.

​Through the analysis presented in this study, we aim to investigate the specific issues arising in Peking Opera education amidst the current predicament. Furthermore, we will seek potential remedial measures and offer recommendations in the hope of contributing to the revitalization and future success of Peking Opera education in Taiwan.

Keywords:

Peking Opera Education, cultural tradition, vocational education.