- 學位論文
不朽的神話─霹靂布袋戲本土文化行銷之研究
A Study of Immortal Myth in Local Culture Marketing of Pili Puppetry
摘要
台灣傳統布袋戲經過歲月的累積磨鍊，逐漸發展出許多不同的表演藝術形態，其中尤以霹靂布袋戲的表演方式最具新穎和創意的特質。而霹靂布袋戲趨向多元化之表演內容，更藉其本身所散發的本土文化風格，漸漸融入大眾日常生活之中，並且帶動台灣傳統藝術表演文化的新氣息。本研究著重於霹靂布袋戲之本土文化風格，並將神話思維的概念導入霹靂布袋戲整體內容中，以敘事理論分析霹靂布袋戲劇情文本，探究霹靂布袋戲本土文化行銷之面向。 文化是一種「情境式」的社會氛圍，布袋戲則是以「視覺性」、「敘事性」、「神話性」三種不同的面向，所產生出不同以往的文化表演系統，也藉由神話敘事的理論觀點，讓霹靂布袋戲含藏許多文化意涵與藝術細胞的精神價值，倘若以本土文化行銷面向來看，霹靂布袋戲是對台灣文化經濟有著非常深刻的重要性。因此，本研究以霹靂布袋戲本土文化行銷為主軸，再加上「神話思維」概念與「敘事情境」空間，兩者之關係互相結合，並藉著人物角色、劇情、文化商品和本土文化特展的層面，探討霹靂布袋戲文化表演藝術現今之狀況。 本研究採用文獻分析法和深度訪談法為研究方法，藉由文獻資料的蒐集與訪談者的互動，希冀能以布袋戲文化流行風潮，帶動全新的文化產業型態。本研究深度訪談的過程，是以五~七位受訪者進行訪談，而訪談題型則分「霹靂布袋戲專家學者」四位，「霹靂布袋戲策展規劃者」一位，「霹靂布袋戲商品行銷者」兩位。訪談題目早已既定，也是從研究中提出不同層面之問題，企圖從訪談過程瞭解霹靂布袋戲現在整個經營的層面，及未來該如何在持續下去之面向，藉此發現再造霹靂布袋戲本土文化行銷之發展契機。 本研究共分為五章論述。首先，第一章是以布袋戲成為台灣意象的典範為開端，目的瞭解布袋戲到霹靂布袋戲文化的可塑性。本章共分五小節，包含研究背景、研究動機與目的、研究範圍與限制、名詞釋義、研究方法等，主要是探討布袋戲受到神話思維及本土文化的影響，加上敘事情境的鋪陳來加以詮釋。第二章開始，本研究藉由傳統布袋戲到霹靂布袋戲的文化成長過程，訴說著歷年來布袋戲文化的改變。本章分成三小節。第一節，布袋戲文化之起源背景，此部分又分為兩方面加以探究：（一）傳統布袋戲之發展；（二）霹靂布袋戲之品牌誕生。第二節，霹靂布袋戲表演藝術文化之展現，又分成兩部分來論述：（一）談黃俊雄金光布袋戲表演形式；（二）以金光布袋戲風格轉換成台灣霹靂布袋戲文化。第三節，霹靂布袋戲與本土文化之認同，主要在於：（一）台灣布袋戲對本土文化的接觸；（二）從本土文化觀點談霹靂布袋戲的精神。 第三章為神話觀點下之霹靂布袋戲劇情角色與社會大眾流行現象，藉由敘事情境及神話思維，探討霹靂布袋戲劇情及角色的連貫性。本章分成三小節。第一節，以神話角度解析霹靂布袋戲角色：（一）霹靂布袋戲角色神話特質；（二）從神話思維看霹靂布袋戲當紅主要角色之形式。第二節，從敘事角度對霹靂布袋戲之劇情影響：（一）以敘事觀點解說霹靂布袋戲之關係；（二）霹靂布袋戲劇情文本之探討。第三節，社會大眾對霹靂布袋戲角色人物之評價：（一）霹靂布袋戲真性情角色吸引觀眾之情感；（二）從霹靂布袋戲人物角色滲入大眾流行文化之趨勢。 第四章以霹靂布袋戲文化行銷之走勢，探討霹靂布袋戲帶動文化行銷之方向，並且以神話性的人物角色分析其文化商品對社會文化之影響趨勢，也藉由「霹靂」文化行銷之模式，導入文化展演之未來發展。本章只分成兩節。第一節，霹靂布袋戲文化商品之現況：（一）霹靂布袋戲文化之商業作為；（二）運用霹靂布袋戲人物角色導入流行商品之行銷型態。第二節，霹靂布袋戲文化行銷展演之內涵發展：（一）從傳統劇場舞台視覺特效演變至現今霹靂布袋戲文化特展；（二）霹靂布袋戲文化行銷風潮帶動台灣表演藝術產業之導向。最後，由「霹靂文化」的風潮來探索霹靂布袋戲未來與文化產業結合之新希望。 本研究認為霹靂布袋戲隨著時代環境的演進，已經引發一股全新的布袋戲熱潮，使得台灣傳統藝術產業再現嶄新的曙光。雖然布袋戲早已是台灣民眾的共同記憶，卻因網路科技快速發展，導致傳統戲曲逐漸沒落，只有唯讀布袋戲順應時代潮流，走向科技動畫的尖端，這不僅是代表著時代演進，也是視覺文化性的興起。就此而言，若如果沒有隨著時代科技進步，就不會有現今生猛強勢的霹靂布袋戲。 換言之，因霹靂布袋戲成功的文化行銷經營，也造就台灣無數的布袋戲表演戲團，獲得企業無數的支持，再加上2006年榮獲台灣意象之代表，相對開啟台灣政府重視此表演藝術文化之契機。若從台灣地方文化局推廣層面來看，也開始積極辦理各項有關布袋戲表演的活動，目的就是要讓此表演藝術重新站起來，再度喚起以前台灣民眾喜愛布袋戲狂熱之氛圍。 藉由以上論述，本研究希冀將霹靂布袋戲以文化產業領域之面向，並透過神話思維、敘事情境的詮釋，再加上本土文化行銷之結合，遂以霹靂布袋戲文化特展之推廣方式，打造屬於台灣霹靂布袋戲文化園區之未來願景，更預期帶領台灣布袋戲文化藝術表演產業邁向全球國際化，藉此推動霹靂布袋戲本土文化行銷之契機，並走向外國版迪士尼文化園區產業，進而開創台灣版的霹靂布袋戲文化園區面貌。
並列摘要
After years of accumulation and endurance, traditional Pili puppetry in Taiwan has developed into many different forms of performing arts gradually, in which the performing way of Pili puppetry possesses the most novel and creative specialties. Pili puppetry tends to develop diverse performance contents; its local culture style allows it to blend into the daily life of the public gradually and promotes the new atmosphere of performing culture in Taiwan’s traditional art. This study emphasizes the local culture style of Pili puppetry, and the concept of mythology would be integrated into the entire content of Pili puppetry. And then, narrative theory is used to analyze the plot and text of Pili puppetry so as to study the direction of local culture marketing of Pili puppetry. Culture is a kind of “situational” social atmosphere, while puppetry uses three different directions, “vision”, “narratology”, and “mythology”, to produce cultural performance system that is different from the past. The theoretical viewpoints of mythic narration allow Pili puppetry to contain many cultural meanings and artistic essence. With regard to the aspect of local culture marketing, Pili puppetry is profoundly important to the culture economy of Taiwan. Therefore, this study regards the local culture marketing of Pili puppetry as the main objective, together with the combination of “mythology” concept and “narratology” space. And then, the current situation of the performing arts of Pili puppetry culture would be discussed with regard to such aspects as roles, plots, cultural products, and exhibitions of local culture. This study regards document analysis and in-depth interview as the study methods; through the collection of document data and the interaction with the interviewees, hopefully the prevailing trend of puppetry culture could promote the brand-new form of culture industry. In the process of in-depth interview, five to seven interviewees have been interviewed, where four of them belong to “expert and scholar of Pili puppetry”, one of them belongs to “planner of Pili puppetry development”, and two of them belong to “marketing representative of Pili puppetry products”. The interview questions have already been decided, and they are proposed from different directions of this study. This study attempts to understand the existing, entire, operating aspect of Pili puppetry from the interview process and the directions for future development, so as to discover and rebuild the development opportunity for the local culture marketing of Pili puppetry. This study is divided into five chapters. The first chapter discusses how puppetry becomes the classic example of Taiwan image in order to understand the potential of puppetry and Pili puppetry cultures. The first chapter is divided into five sections, including study background, study motive and objective, study scope and limitation, term interpretation, and study method; it mainly discusses the influence of mythology and local culture towards puppetry, and the arrangement of narratology is also used for further interpretation. In the second chapter, the process of how traditional puppetry transforms to Pili puppetry culture is shown, explaining the changes of puppetry culture over the years. The second chapter is divided into three sections. The first section is “The origin and background of puppetry culture”, this section is then divided into two parts for further discussion, including the development of traditional puppetry and the beginning of the Pili puppetry brand. The second section is “The presentation of performing arts culture of Pili puppetry”, this section is also divided into two parts for discussion, including the discussion about the performing style of Huang Chun-hsiung’s golden puppetry and the transformation of golden puppetry style into Pili puppetry culture in Taiwan. The third section is “The recognition of Pili puppetry and local culture”, it mainly discusses the relationship between Taiwan puppetry and local culture, and the discussion about Pili puppetry spirit from the perspective of local culture. The third chapter discusses the plot and roles of Pili puppetry and the prevailing phenomenon in the public from the perspective of mythology; the connection between the plot and roles in Pili puppetry would be discussed in accordance with narratology and mythology. This chapter is divided into three sections. The first section is “The explanation of Pili puppetry roles from the perspective of myth”; it discusses the mythic characteristics of Pili puppetry roles and the popular main roles in Pili puppetry from the view of mythology. The second section is “The influence of narration towards the plot of Pili puppetry”, which includes two parts, the first part is the explanation of Pili puppetry relationship from the view of narration and the second part is the discussion about the plot and text of Pili puppetry. The third section is “The public’s evaluation towards the roles in Pili puppetry”, which includes two parts, the first part is how emotive roles in the Pili puppetry attract audience’s feelings and the second part is the trend of how Pili puppetry roles blend into the pop culture. The fourth chapter indicates the development of Pili puppetry culture marketing to discuss the culture marketing direction that Pili puppetry promotes. Also, the mythic roles are used to analyze the influential trend of its cultural products towards social culture; the model of “Pili” culture marketing is also used to integrate into the prospective development of cultural performance. This chapter is divided into two sections. The first section is “The current situation of Pili puppetry cultural products”, it discusses the commercial behavior of Pili puppetry culture and the marketing form that uses the roles in PIli puppetry to integrate with popular products. The second section is “The cultivated development of the culture marketing of Pili puppetry”, which includes two parts, the first part discusses the cultural development of how traditional theater’s visual effect evolves to the current Pili puppetry, and the second part discusses the direction of how cultural marketing trend of Pili puppetry promotes the performing arts industry in Taiwan. Lastly, the trend of “Pili culture” would be discussed to investigate the new opportunity of Pili puppetry combining with culture industry in the future. With the development of times and environment, this study believes that Pili puppetry has already started a brand new puppetry trend that allows the traditional art industry in Taiwan to show brand new opportunity again. Although puppetry has already been the common memory of Taiwanese, the quick development of network technology causes traditional play to be on the downgrade gradually. However, puppetry is the only traditional play that adjusts itself to the trend and moves towards the frontiers of technological animation; this not only represents the evolution of times, but also the spring up of visual culture. In view of this, the aggressive and strong Pili puppetry would not exist if the puppetry did not advance with the technology. In other words, the successful operation of cultural marketing of Pili puppetry brings up numerous puppetry performance groups in Taiwan, they also obtain support from enterprises. Furthermore, puppetry had the honor to get the representative of Taiwan image in 2006; thus, the opportunity that Taiwan government values this performing arts culture has been unlocked. The local cultural affairs bureaus in Taiwan also begin to hold activities about puppetry performance enthusiastically, hoping to promote this performing art again so as to recall the fanatical atmosphere of Taiwanese’s affection towards puppetry. Regarding the culture industry field of Pili puppetry, interpreting by mythology and narratology, combining with the local culture marketing, and popularizing Pili puppetry using cultural exhibition, this study hopes to create a Pili puppetry cultural park that belongs to Taiwan in the future. This study also expects to lead the art performing industry of puppetry culture in Taiwan to the whole world so as to promote the opportunity of local culture marketing of Pili puppetry and move forwards to the foreign edition of Disney cultural park industry; thus, the Taiwan edition of Pili puppetry cultural park could be founded then.