Mu Dan and Tun Yi also performed in Fujian province.” First decline: 1936–1945 After the Pacific War broke out, the Japanese government changed the previous policy and implemented a Kōminka policy that encouraged Japanisation. During this period, the Japanese government prohibited the public performance of Taiwanese opera. Even though many troupes were disbanded and Taiwanese opera witnessed its first decline, local people still tried to perform Taiwanese operas in secrecy. Taiwanese opera, also known as Bông-kok-tiāu/wangguodiao (亡國調; literally, "music from a dying nation") provided an outlet for Taiwanese people to search for their identify and fight for the "in-betweenness" of cultural influences of Taiwan, Japan and China. Some dissidents like the "Ruiguang Theater Troupe from Ruifang in northern Taipei Prefecture premiered its own "new drama"." (Lee Daw-Ming, 158) Japanisation forbade traditional Taiwanese opera, this troupe would simply perform "new drama" which was a modern variation of Taiwanese opera, with modern costumes. The "New Drama movement" fever finally subsided in 1940." (Lee-Daw-Ming, 158) Golden period: 1945–1962 After Taiwan was handed to the Republic of China, Taiwanese opera was revived and more than one hundred troupes were formed within a year. In 1949, there were over five hundred registered troupes. Taiwanese operas entered into its golden age. During this time, Chen Cheng-san (陳澄三) founded “Kung Le She” (拱樂社) troupe and became the first person to use written scripts for performance. He commissioned Chen Shou-jing to write scripts of "Broken Dreams of the Red Chamber" (紅樓殘夢; ). Even during its golden period, Taiwanese opera continued to face challenges and adapt to the changes in political and cultural environment. The rise of the new broadcasting medias including radio, film and television show, the influence and popularity of western pop songs and movies drew the general public’s attention and presented serious competition. During the martial law from 1949 to 1987, the KMT government revived the Mandarin Promotion Council and discouraged or, in some cases, forbade the use of Hokkien and other dialects. This and the shift of political environment provided little support for the Taiwanese-language based art form. The indoor performances decreased and opera troupes experimented performing on radio, film and television and large outdoor settings. Transformation Starting in 1954, Taiwanese operas performed on radios. In 1955, Chen Cheng-san filmed the first white and black movie of Taiwanese Opera “Xue Pin-Gui and Wang Bao-chuan” (薛平貴與王寶釧; ) and the premier was a huge success. In 1962,