- 期刊
從「一口訴說千古事」到人與偶的對話──試論臺灣布袋戲說書傳統的現代轉型
On the Modern Transformation of Glove Puppet Play and Storytelling Tradition in Taiwan
摘要
布袋戲的表演源自於說書傳統，形成初期讓講古的說書人由臺前走入幕後，藉由手上的木偶代言發聲，透過指掌技藝的表現結合一口五音的聲音特色，搭配樂曲伴奏和聲腔演唱，形成具體而微的戲曲舞臺型態。然而隨著現代表演藝術多元化的表現趨勢，偶戲原本強調擬人肖似的逼真技巧，也逐漸走向人偶同臺、演藝跨界的多樣化風貌，呈現當代藝術融合的形式。這不僅是布袋戲團本身的追求突破，也有現代劇場與偶戲團隊尋求合作的嘗試，企圖為當代的表演作品帶來具時代感的表演色彩。本文透過筆者近年來對偶戲跨界作品的觀察，探討說書人角色功能的轉變過程，並經由表演特色、評論觀點、觀眾角度等面向，進行布袋戲表演主體性的辨識，以歸納出現代偶戲創作發展的共同徑路，反思布袋戲在當前所應檢視的問題，以及未來可能開拓的新方向。
並列摘要
The performance of the puppet show originated from the storytelling tradition. At the beginning of its formation, the ancient storyteller walked from the front of the stage to behind the scenes, using the puppets in his hands to speak for himself, and through the performance of the palm of the hand combined with the sound characteristics of a five-tone voice, with music accompaniment and vocal singing forms a specific and subtle stage pattern of opera. However, with the diversified performance trend of modern performing arts, puppet shows originally emphasized the realistic skills of anthropomorphism, and gradually moved towards the diversified style of puppets on the same stage and cross-border performing arts, presenting a form of contemporary art integration. This is not only a breakthrough in the pursuit of the puppet theater itself, but also an attempt by modern theaters to seek cooperation with the puppet theater team, in an attempt to bring contemporary performances to contemporary performances. Based on the author's observations of cross-border puppet shows in recent years, this article explores the transformation process of the role of storytellers, and through the performance characteristics, critical points of view, and the audience's perspective, identifies the subjectivity of puppet shows in order to generalize modern puppet shows. The common path of creative development, reflecting on the issues that puppet shows should be examined at present, and the new directions that may be explored in the future.