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析論布袋戲的發展現況與困境-以臺中市為例

An Analysis of the Development and Predicament of Glove Puppet in Taiwan-Take Taichung Glove Puppet Troupes as An Example

摘要


本文參考現有研究資料,併以田野調査方式,針對臺中市目前持續演出的近三十個布袋戲演藝團體為調查對象,呈現臺中市目前布袋戲團的流派分布、布袋戲團發展所面臨的經營問題,以及藝師在面臨困境時所做的調整與轉型。自本文研究觀察,臺中因位於臺灣南北交通樞紐,因此成為南北各派藝師技藝交流的中心點布袋戲劇團大多屬於「五洲派」系統,少數屬於「世界派」、「小西園派」,而其中傳承家業、兼習各派精華的劇團也不在少數。多數布袋戲劇團在強勢娛樂媒體、休閒活動多元化、傳統表演舞台喪失、近代新觀念挑戰等外在因素,以及觀眾流失、惡性競爭、缺乏劇本、後繼無人等内部因素影響下,傳統布袋戲確實面臨生存危機,不過一群新生代的藝師,為延續布袋戲演藝生命,做許多努力,如撰寫新劇本迎合新時代觀眾喜好、引進新技巧,提高布袋戲的可看度,並嘗試不同管道增加布袋戲的能見度,開拓新的觀眾群。本文不僅只想呈現布袋戲此傳統表演藝術於現今社會的發展軌跡,更期盼能以此為一個觀察基礎:當我們可以審視布袋戲於今日發展的困境,以及目前政府或民間團體無論成敗所做的努力,那麼或許我們就能更明白我們往後該做哪些的修正、該提供哪些的資源,讓傳統表演藝術重獲新生的力量!

並列摘要


Glove Puppet is an important part of the traditional performing arts. After the Glove Puppet came to Taiwan with Chinese immigrants, they changed over time and showed a diverse style in Taiwan. However, with the changes of popular entertainments and the diversified entertainment medias, traditional Glove puppet faces the challenges by the time. This article refers to the existing research datas and uses fieldwork, take Taichung Glove Puppet troupes as an example, to understand how the Glove Puppet artists adjust and transform when they face such dilemmas. From the observation of this article, Taichung is located at the north-south transportation hub in Taiwan, and therefore has become the center of skill exchange between the north and the south. Today most Glove Puppet groups face survival crisis. The new generation of Glove puppet artists made a lot of efforts to develop new audiences and expect a rejuvenation.

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