無形文化資產振興管理系統之建構─以臺灣布袋戲發展為例

An Inductive Proposal For A System For The Revitalization Of An Intangible Cultural Heritage: The Puppet Theater Of Taiwan

原來(Yuan, Lai)

指導教授 ： 黃光男

國立臺灣師範大學/藝術學院/美術學系/博士(2011年)

摘要

本研究專注於無形文化資產振興問題，係考量到無形文化資產必須延傳至下一代，其保護的動作不應只是消極性的保護與記錄，或做一些教育與宣傳的動作而已，其結果將容易形成「玻璃罩子」形式的表演，而使無形文化資產在現代社會成了「本土的他者」，與社會生活脫節。本研究主張應有積極性的作為，以系統結構觀察整體的文化生態做一完整周延的保護。
本研究先論證傳統的變異性特質，傳統不應拘限於某一時期，傳統也必須與時代俱進；再觀諸臺灣布袋戲發展與傳統變異論證相符，過去黃海岱的創新是現在的傳統，現代的霹靂是未來一百年後的傳統。本研究再論述系統結構的必然性與適用性，從文化生態學和人類學祭祀圈的理論與研究可得知，傳統藝術的產生與發展與社會系統關係密切，例如宗教系統的廟會酬神文化即屬之，本研究以布袋戲為例，論證布袋戲本是與社會系統互動而發展，若要保護或振興也應以系統為之。
振興的思維有動機層次理論與社會系統之生存理論支持，而UNESCO亦有振興的全方位做法，顯見振興一個古蹟或傳統藝術，國際社會的做法並不是「直線」式的補助，而是多方面協助的「系統」作為。
本研究再深入討論臺灣布袋戲的發展，在「布袋戲/民眾」命題下，發現臺灣布袋戲自始都是振興思維，在生存的壓力下力圖振作，乘著新媒體新科技引領潮流之先；但是也從臺灣社會的發展得知，政府的態度、媒體更迭、表演場地的變更，其資源供應結構互不相同，布袋戲也在其間互有消長，逐漸演變成目前略顯疲態的情況。
本研究所採用振興管理系統的架構，係採用Porter的鑽石體系和Kaplan & Norton的策略地圖，此兩者都是現代管理學界與企業界普遍採用的知名管理系統；鑽石體系關注於國家競爭優勢，以大方向探討建立一個國家的產業群聚競爭力所需要的各因素搭配方式；而策略地圖則從平衡計分卡經過實務操作發展而來，策略地圖將公司經營的四個構面緊密串連，達成每個目標項目，整體公司將可獲得實質的成長。
本研究利用鑽石體系分析臺灣布袋戲環境的情況，並根據其系統架構建議應以動態啟動布袋戲鑽石體系，促使活絡表演藝術的生態環境；本研究亦利用策略地圖分析臺灣布袋戲的經營特色與存在的問題，並且根據策略地圖的架構標舉出臺灣布袋戲團經營的各個目標項目，以提供臺灣布袋戲團經營管理的參考。
本研究最具創意之處，即結合鑽石體系和策略地圖使之形成一「振興管理系統」，對布袋戲團而言，鑽石體系是外在環境的分析，而策略地圖則是布袋戲團內部經營管理的分析，兩個系統的整合可以同時顯示布袋戲所面臨的社會環境與內部經營的情況，政府文化相關單位未來意圖振興布袋戲，以「振興管理系統」觀之，將不能只以直線式思考補助演出和傳承教育而已，應該要以系統的方式同時觀照社會環境各因素，以及和布袋戲團成長相關的因素，再考量系統動態的特性，政府應思考如何加強哪一個因素，可以對其他因素造成漣漪效應，若再同時適加輔導其他因素，則整體的布袋戲生態將有可能振興，活絡，延傳至下一世代。

關鍵字

無形文化資產 ； 振興 ； 布袋戲

並列摘要

There is a reason why this study puts strong emphasis on the revitalization of intangible cultural heritage. Society cannot pass cultural wealth on to the next generation through passive protection, record-keeping and advocacy. Passiveness may devolve into, "glass-cover" types of performances. Intangible cultural heritage may be seen as, "indigenous others". Intangible cultural heritage may be apart from vital contact with society. This study proclaims that an active and systematic approach should go forth to battle for the protection of cultural heritage.
This study takes as the first focus variation over time in a tradition. A tradition must change with the temporal surround. Taiwanese puppet theater have changed with scientific and technological development. Master Hai-Dai Huang is a significant figure in Taiwanese puppet theater. Master Hai-Dai Huang is an innovator. Master Hai-Dai Huang has engendered the present scene the “Pili”(霹靂) sets backgrounds. The “Pili”(霹靂) genre should last out the century. This study emphasizes the need for a puppet “system”. The puppet theater “system” operates within the larger framework of culture. Judging from the theory and practice of cultural ecology and the religious aspects of anthropology, it is obvious that the emergence and development of traditional arts, such as monotheistic culture in a religious system, are closely related to the development of social systems. The puppet theater is thus easily seen as interactive with the social system and the way to protect or revitalize the arts should be done within the systems.
The revitalization concepts are supported by motivational theory and social system survival theory. The revitalization programs by UNESCO are usually undertaken with a holistic approach, showing that the international community does not revitalize a historic or traditional art through a "straight-line" subsidy but through a "systematic" approach to offer assistance in many aspects.
The development of Taiwanese puppet theater is then further discussed in this study. It is plain under the "puppet theater / people" proposition that the Taiwanese puppet theater is always full of thoughts of revitalization. The Taiwanese puppet theater has been always trying to rally itself to survive under pressure, ride on new technology, and lead the trend parade. Taiwanese puppet theater has also been strongly influenced by the attitudes of the Government, changes in the media and the performance venues, and the differences in resource supply structure. As a result, the puppet theater troupes have had their ups and downs and have gradually evolved into the current shabby and tiring situation.
The revitalization management system used in this study is a combination of Michael Porter’s Diamond Model and the Strategy Maps published by Kaplan & Norton. These two management systems are well-known in both the academic and business communities. The Diamond Model focuses on national competitive advantages and the ways to arrange the industrial clusters to build up national competitiveness. Strategy Maps utilizes Balance Scorecards to closely thread the four operational dimensions of a company, so that the company can build up a sound foundation to reach each of its business targets and the overall growth.
In this study, the Diamond Model is used to analyze the environments in which the Taiwanese puppet theater is immersed and then recommend some ways for the revitalization of the puppet theaters based on the Diamond system. The Strategy Maps are used to analyze the operating characteristics and problems in the Taiwanese puppet theater. Based on the framework of Strategy Maps, some objectives and targets are then recommended to the Taiwanese puppet theater troupes for reference.
The formation of a "Revitalization Management System" by combining the Diamond Model with the Strategy Maps is considered the most creative part in this study. The Diamond Model is used to analyze the external environment for the puppet theater troupes, while the Strategy Maps are used to analyze their internal operation and management. The integration of the two systems can be used to display simultaneously the social environment and internal operations facing the puppet theater troupes. If the Government uses the concept of this "Revitalization Management System" to revitalize the puppet shows in Taiwan, it will not think in a “straight-line” way by simply granting subsidies to the performances and heritage education but should systematically consider the social and environmental factors, the internal factors related to the growth of the puppet theater troupes, and the dynamic characteristics of the system. The Government should further consider which factor to strengthen and how to cause a ripple effect by strengthening that one critical factor. If the Government can put more supplementary factors into consideration, the overall ecology for the puppet theater may possibly revive, turn brisk, and pass on to future generations.

並列關鍵字

Intangible Cultural Heritage ； Revitalization ； Puppet Theater

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