建立Pili版圖的四種構面（一）

Constructing Four Facets to the Domain of Pili Corporate-Part1

高瑞陽(Jui-Yang Kao) ； 劉時泳(Shih-Yung Liu) ； 劉真吟(Chen-Yin Liu) ； 黃世輝(Shyh-Huei Hwang)

《設計研究》 6期 (2006/07) Pp. 41-52

https://doi.org/10.30178/SJYJ.200607.0005

摘要

雲林縣虎尾黃氏一家四代同堂聯手舞動臺灣布袋戲文化，不僅承先啟後地為臺灣布袋戲的掌中世界幻化出超凡入聖的不朽成就，更為臺灣的傳統戲曲，建立出獨樹一幟的標竿地位。近期隨著霹靂布袋戲（以下簡稱”Pili”）劇集與週邊產品的發燒熱賣，Pili的事業版圖因而日趨多元遼闊。本文分由：歷史、社會、美學、產業的四大軸向，並以學術研究及戲迷自我反思的立場上，希望能一窺Pili所構築的王國。呈現其傳統戲劇推手、庶民文化生產、天馬行空美學、創意即是生意的多樣性。

關鍵字

布袋戲 ； 霹靂 ； 庶民文化 ； 涉入理論 ； 本土化 ； 文化創意產業

並列摘要

Four generations with Huang family in Hu-Wei, Yun-Lin, Huangs used their 'ten fingers' to activate the puppets crossover the limitation between traditional culture and modernity. Thus, it doesn't go beyond the art for all operas before by setting up benchmark merely; but also with marketing development on multi-products in series of puppet theatres recently. Domain of Pili corporate has broadened with diversity increasingly. This paper wants to probe the kindgom of Pili based on four axial aspects of historical, sociological, aesthetical and production approaches, both also researched on self-reflecting and academic stance. As a result, it represents Pili in a recreating part for tradition, productive popular culture, vigorous confine of aesthetics, and creations as businesses.

並列關鍵字

Puppet theatre ； Pili ； Popular Culture ； Involvement theory ； Indigenization ； Culture & Creation Industry