During an interview with Ling God, we felt her industriousness and a strong sense of vocation as the successor to a traditional theatre troupe. The family troupe’s traditional skills were not commonly respected in the past. Consequently, even though people are getting more conscious about the preservation of traditional cultures and arts, traditional performing arts still face challenges regarding the increasing distance with contemporary audiences resulting from the changing lifestyle, extinction of dialects and the disconnection between traditional and modern theatre space.

There are two major directions for Teochew Puppet and Opera House to overcome the difficulties: to pass on the traditions, and to innovate the form of performance. In addition to the family inheritance which includes family members from the next generation to participate in the temple performances, Teochew Puppet and Opera House has also been focusing on public education in the past three years through theatre performances, participation in art festivals and hosting events at school.

In the past two years, Teochew Puppet and Opera House has also set their hands on the project of new story adaptations, and on performing local Malaysian legends. While sustaining the traditional skills from Teochew, China, they are also trying to build connections with Malaysian youngsters. Additionally, through making short videos, Teochew Puppet and Opera House attempts to introduce Teochew puppetry to more contemporary audiences.

吳慧玲訪談的過程中，我們能感受到她身為傳統劇團接班人的刻苦耐勞和強烈的使命感。從小時候家族的技藝不受到社會普遍價值的重視，以致現今雖然傳統文化、藝術保存的意識抬高，卻也面臨了由於生活步調變快、方言逐漸失傳、廟會與劇場的場域斷裂等因素，使得傳統表演藝術逐漸與現代觀眾遠離的危機。

吳慧玲看著傳統偶戲沒落的過程，卻也肯定自己這幾年的努力帶來的成績。

潮藝館以兩條路線嘗試走出困境：一是傳承，二是創新。

除了家族內的傳承，讓家族中下一代成員加入廟會酬神演出，潮藝館也在近三年開始以教育大眾為主要方向，並且在劇場售票演出，或參與藝術節、學校等活動。

近兩年來，潮藝館開始新編故事的計畫，演出馬來西亞本土傳奇故事，延續這門來自中國潮州技藝的同時，也試圖和馬來西亞本土年輕人拉近距離；另外，他們透過短片的製作，試圖讓潮州木偶戲進入現代人的眼簾。