This research examines literary techniques used in the adaptation of Lilit Taleng Phai to a Chakrabhand puppet play and analyzes characteristics of Taleng Phai: A Chakrabhand Puppet Playas performance literature. The study reveals that four literary techniques were used to make this adaptation: 1) adaptation of the content; 2) the characters; 3) the pattern; and 4) the presentation. These adaptations contribute to the characteristics of puppet play as performance literature through five conventions: 1) use of an invocation for puppet performance; 2) inclusion of puppet songs; 3) insertion of jokes; 4) method of delivery of puppets to the stage; and 5) not ending with the death of a character. Importantly, the play includes three innovations of puppet performance: 1) the creation of a puppet play from historical literature; 2) the creation of an atmosphere in a puppet performance; and 3) the creation of songs and a singing format.