跨媒體性‧浮動的能指：1970年代電視布袋戲角色主題歌

臺灣傳統的布袋戲幾乎都是搭配南管、潮調、北管等戲曲音樂的表演。戰後許多不同的戲班進入內臺商業劇場表演，有的以劇情的曲折離奇取勝，而重金禮聘排戲先生進行合作，但也有的戲班則以女歌手駐唱作為號召。1970年代之後，這些不同的戲班進入電視或廣播電臺表演，有些戲班將內臺商業劇場的歌手表演制度發揚光大，結合唱片公司的流行音樂製作團隊，讓許多著名的角色主題歌不僅成為當年暢銷的文化產品，甚至到今天的卡拉OK，依舊可以聽到許多不同世代的臺灣民眾仍喜歡點播布袋戲歌曲。這種創作形式，隨著與電視、唱片等傳播管道結合，而形成一股庶民的流行文化風潮。1970年代的電視布袋戲角色主題歌，是一種跨媒體現象，結合了布袋戲／電視／唱片，而造成戲劇與媒體之間影響的網絡。這種現象，如麥克魯漢所說的，媒體跨種與混血，孕育了巨大能量的激烈釋放。但我們卻似乎還未曾去思考它們的時代意義，及其隱含的臺灣民間自發的文化創意。法國戲劇學者巴維斯曾頗細緻地分析戲劇與電影、電視、廣播、錄影帶等媒體之間的交互影響。本文首先企圖從跨媒體的角度來思考，布袋戲角色主題歌的主要發展模式，及其複數動員的意義。其次，1970年代著名的電視布袋戲角色主題歌，似乎都具備一種穿透力，不但使得木頭雕刻的戲偶宛若真人一般有血有肉，甚至與布袋戲觀眾普遍的心理一樣，有著一顆不安騷動的靈魂。一般的流行歌曲與布袋戲角色主題歌的差異在哪裡，還有這種跨媒體的結合有哪些可能的模式，而其可能的侷限或優勢在哪裡呢？從這種文化產物的史料釐清出發，雖看似古老引人懷舊眷戀之外，仍有值得反省的空間，尤其是對於跨媒體的概念、戲劇本身的開放創作可能，都是值得我們省思的課題。

關鍵字

布袋戲；歌謠；媒體；電視；唱片

並列摘要

According to these music styles, there were three main traditions or ”schools” of puppet theatres in Taiwan: Nanguan, Beiguan and Zhaodiao. In the early years of the 20th century, the musicians of Beiguan created many new tunes for puppet theatre. The new style of music was more and more fashionable, which characterized by simple and variety. This tendency provided the more powerful and more improvisational performance. After the World War II, a few of the glove puppet troupes had started making a revolutionary change in the manipulation, in the music of puppet, and they succeeded in the commercial theatre.Bur there are many problems about the puppet's song: how many it exist and how it could to be used in the performance. By analyzing the beta of my field work basically, we'll intend to re-consider the subject under the following heads: first, we'll sketch the historical context of the puppet's song from commercial theatre to theatre on television, especially, the shift from a live demonstration to a disk record. More and more, we had seen that puppet theatre use tape recorders and phonographs and changed their performance style from quasi-opera into the narrative.Secondly, we should notice that the historical phenomenon of puppet's song is not only a popular song, but also a hybridity of puppet theatre/ television/ disk record, as the word' hybridizations of the media' of McLuhan, or 'intermediality' of Patrice Pavis.Finally, the song of disk record was been used to create the role of puppet theatre, and the meaning of the character more colorful and more ambiguous by the result of 'floating signifier' of Levi-Strauss. We'll re-estimate the song as a'ready-made', the word of avant-garde artist Duchamp, and reflect the possibility of puppet's creation.