就傳統布袋戲而言，布袋戲戲偶為30公分左右的小戲偶，軀幹和四肢都是用布料做出的服裝，然後操偶表演者將單手手掌放入中空戲偶，食指 放入偶頭中，拇指放入右手以進行表演。操偶師就用手掌與五指的搖擺或晃動，來控制戲偶的頭、身體、與手來表演。不過因為木制戲偶表情並沒有什麼變化。所以要怎麼借由木偶肢體的動作來表達劇中人物的情 感，則尤其重要與困難。

在角色方面，布袋戲偶大致可分為生、 旦、淨、末、醜、獸、雜.....等七種角色。因為布袋戲可單手操偶，因此傳統布袋戲操偶師，通常可一人操縱兩偶，互做對談動作的文場表演，更甚，兩手均可做木偶的跑、跳、拋 接、武打等武場表演。事實上，於實際操演上，布袋戲除了武場大軍場面，或龍套角色出現串場外，布袋戲戲劇進行中，通常以兩偶兩角色之間的互相對話與肢體互動為多。就此，跟一般中國傳統戲劇相同，若對話較多者稱為文戲，而武打互動較多者则稱為武戲。

20 世紀中期後，為了表達更多視覺效果，台灣操偶表演隨著戲偶從30公分演變成50公分，甚至加大至70公分以上。因應此變，一偶之操作從單手變成了雙手。除了手仍舊放入戲偶內，以食指放入偶頭外，偶頭與偶身內還加裝了特殊裝置，可用繩子拉動控制眼睛睜眨、用中指扳動嘴唇控制、用內藏機關彎曲手腳等等。除此之外，左右手都需要配合相當多的操偶技巧，才可讓布袋戲木偶做轉 身、沉思、奔跑、跳 接等動作。布袋戲演出，常是操偶者兼口白，甚至還包 辦後場音樂的情形。這種獨 挑大樑的布袋戲操演方式，在21世紀，還是常見於閩南以及臺灣地區。

就 传统布袋戏而言，布袋戏戏偶为30公分左右的小戏偶，躯干和四肢都是用布料做出的服装，然后操偶表演者将单手手掌放入中空戏偶，食指放入偶头中，拇指放入右手以进行表演。操偶师就用手掌与五指的摇 摆或晃动，来控制戏偶的头、身体、与手来表演。不过因为木制戏偶表 情并没有什么变化。所以要怎么借由木偶肢体的动作来表达剧中人物的情感，则尤其重要与困难。

在角色方面，布袋戏偶大致可分为生、 旦、净、末、丑、兽、杂.....等七种角色。因为布袋戏可单手操偶，因此传统布袋戏操偶师，通常可一人操纵两偶，互做对谈动作的文场表演，更甚，两手均可做木偶的跑、跳、抛 接、武打等武场表演。事实上，于实际操演上，布袋戏除了武场大军场面，或龙套角色出现串场外，布袋戏戏剧进行中，通常以两偶两角色之间的互相对话与肢体互动为多。就此，跟一般中国传统戏剧 相同，若对话较多者称为文戏，而武打互动较多者则称为武戏。

20 世纪中期后，为了表达更多视觉效果，台湾操偶表演随着戏偶从30公分演变成50公分，甚至加大至70公分以上。因应此变，一偶之操作从单手变成了双手。除了手仍旧放入戏偶内，以食指放入偶头外，偶头与偶身内还加装了特殊装置，可用绳子拉动控制眼睛睁眨、用中指扳动嘴唇控制、用内藏机关弯曲手脚等等。除此之外，左右手都需要配合相当多的操偶技巧，才可让布袋戏木偶做转 身、沉思、奔跑、跳 接等动作。布袋戏演出，常是操偶者兼口白，甚至还包 办后场音 乐的情形。这种独挑大梁的 布袋戏操演方式，在21世纪，还是常见于闽南以及台湾地区。

Jiù chuántǒng bùdài xì éryán, bùdài xì xì'ǒu wéi 30 gōngfēn zuǒyòu de xiǎo xì'ǒu, qūgàn hé sìzhī dōushì yòng bùliào zuò chū de fúzhuāng, ránhòu cāo’ǒu biǎoyǎnzhě jiāng dānshǒu shǒuzhǎng fàngrù zhōngkōng xì’ǒu, shízhǐ fàngrù ǒutóu zhōng, mǔzhǐ fàngrù yòushǒu yǐ jìnxíng biǎoyǎn. Cāo’ǒushī jiùyòng shǒuzhǎng yǔ wǔzhǐ de yáobǎi huò huàngdòng, lái kòngzhì xì’ǒu de tóu, shēntǐ, yǔ shǒu lái biǎoyǎn. Búguò yīnwèi mùzhì xì’ǒu biǎoqíng bìng méiyǒu shéme biànhuà. Suǒyǐ yào zěnme jièyóu mù'ǒu zhītǐ de dòngzuò lái biǎodá jùzhōng rénwù de qínggǎn, zé yóuqí zhòngyào yǔ kùnnán.

Zài juésè fāngmiàn, bùdài xì’ǒu dàzhì kě fēnwéi shēng, dàn, jìng, mò, chǒu, shòu, zá..... děng qīzhǒng juésè. Yīnwèi bùdàixì kě dānshǒu cāo'ǒu, yīncǐ chuántǒng bùdàixì cāo'ǒushī, tōngcháng kè yīrén cāozòng liǎng ǒu, hù zuò duìtán dòngzuò de wénchǎng biǎoyǎn, gèng shèn, liǎngshǒu jūn kě zuò mù'ǒu de pǎo, tiào, pāojiē, wǔdǎ děng wǔchǎng biǎoyǎn. Shìshíshàng, yú shíjì cāoyǎn shàng, bùdàixì chúle wǔchǎng dàjūn chǎngmiàn, huò lóngtào juésè chūxiàn chuànchǎng wài, bùdàixì xìjù jìnxíng zhōng, tōngcháng yǐ liǎng'ǒu liǎng juésè zhījiān de hùxiāng duìhuà yǔ zhītǐ hùdòng wèiduō. Jiùcǐ, gēn yībān zhōngguó chuántǒng xìjù xiāngtóng, ruò duìhuà jiàoduō zhě chēngwéi wénxì, ér wǔdǎ hùdòng jiàoduō zhě zé chēngwéi wǔxì.

20 Shìjì zhōngqí hòu, wèile biǎodá gèngduō shìjué xiàoguǒ, táiwān cāo'ǒu biǎoyǎn suízhe xì'ǒu cóng 30 gōngfēn yǎnbiàn chéng 50 gōngfēn, shènzhì jiādà zhì 70 gōngfēn yǐshàng. Yīnyìng cǐbiàn, yī'ǒu zhī cāozuò cóng dānshǒu biànchéng le shuāngshǒu. Chúle shǒu réngjiù fàngrù xì'ǒu nèi, yǐ shízhǐ fàngrù ǒutóu wài, ǒutóu yǔ ǒushēn nèi hái jiāzhuāng le tèshū zhuāngzhì, kěyòng shéngzi lādòng kòngzhì yǎnjīng zhēngzhǎ, yòng zhōngzhǐ bāndòng zuǐchún kòngzhì, yòng nèicáng jīguān wānqū shǒujiǎo děngděng. Chú cǐ zhī wài, zuǒyòushǒu dōu xūyào pèihé xiāngdāng duō de cāo'ǒu jìqiǎo, cái kě ràng bùdàixì mù'ǒu zuò zhuǎnshēn, chénsī, bēnpǎo, tiàojiē děng dòngzuò. Bùdàixì yǎnchū, cháng shì cāo'ǒu zhě jiān kǒubái, shènzhì hái bāobàn hòuchǎng yīnyuè de qíngxíng. Zhè zhǒng dútiāo dàliáng de bùdàixì cāoyǎn fāngshì, zài 21 shìjì, háishì chángjiàn yú mǐnnán yǐjí táiwān dìqū.

Traditional glove puppets are roughly 30cm tall, with its limbs and clothes made out of cloth. A puppeteer will put his or her hand into the hollow center of the puppet to control it. Then the index finger will go to the head, thumb controls the right hand, other three figures controls the left hand. The puppeteer would use the movement of his or her palm and give fingers to manipulate the puppet. This makes it easy to make the puppets shake or nod their heads and make them walk. But since puppets don't have facial expressions, puppeteers need to convey emotions through the movement of the puppets. This make puppeteer skills are not easy to pick up and hard to master.

Glove puppet characters are split into 7 categories: sheng, dan, jing, mo, chou, shou, and za. And each character have specific hand motions, walking patter, and actions. Since glove puppets only require one hand to control, puppeteers can use two puppets to perform duologue or fighting scenes. In practice, other than big fight scenes or cameo appearances, glove puppetry performances are focused on interactions between characters and character movement. Thus, glove puppetry performance are characterized like traditional Chinese theater into literary play (wenxi) and action play (wuxi).

After the 20th century, Taiwanese puppets transformed from being 30cm tall to 50cm tall, some even over 70cm. This transformation is motivated by elevating the visual effect of glove puppetry performances. The puppets, however, now need to be controlled using two hands instead of one. The second hand is required to make the puppets turn around, appear to be thinking, run, jump, etc. There are also special devices to make the puppet blink, move its lips, or bend its lips. For example, the middle finger pulls on a rope to control the movement of the lips. Also worth mentioning is that for all time periods, the puppeteer usually does the voice acting too, sometimes even doing the music. This sort of highly skilled puppetry performances is still common in the southern Min and Taiwan area even in the 21st century.