傳統戲曲的展示空間之再現研究:以台灣的傳統戲曲館為例

The Presentation of Exhibition Space of Traditional Performing Arts: With the Examples of Traditional Performing Arts Museum

黃淑媛(Shu-Yuan Huang)

指導教授 ： 陳其澎

中原大學/設計學院/室內設計研究所/碩士(2003年)

https://doi.org/10.6840/cycu200300669

摘要

台灣博物館事業的興盛，一方面受到國家文化政策的影響，另一方面則是適逢世界各地興起文化資產的保護運動。在博物館興盛與文化資產保存運動的趨勢下，文化資產遂有博物館化現象。因此，本研究首先就台灣的文化資產在博物館化的現象做一歷史性的回顧，並嘗試去梳理文化資產是在何種脈絡下與博物館相結合。易言之，即文化資產在何種論述與時代背景下泛博物館化。
接續文化資產博物館化的歷史回顧，正文將探討1980年代起傳統戲曲博物館化的脈絡與影響；亦即這些傳統戲曲館是在什麼歷史時勢下生產出來的。當時文建會以大型文藝季─「民間劇場」來展示與演出傳統戲曲與技藝，爾後又提出以「民俗技藝園」的概念，讓傳統戲曲與技藝有一個永久性的展演場所。因此，原本置身於生活與表演場域中的傳統戲曲，以一個固定場所的方式來加以保存、展示與演出，這乃是傳統戲曲博物館化的肇始。
爾後，傳統戲曲博物館化的情形愈來愈盛，而這種特有的現象乃是因為90年代文化保存的論述轉變為社區文化的重建與地域文化的保存，導致各縣市政府致力於建設代表其地方文化的象徵，從而生產出各個地方特色館─諸如宜蘭的台灣戲劇館、彰化的南北管音樂戲曲館、高雄的皮影戲館。在民間亦有自發性的保存力量來成立私有的館舍─諸如台北的大稻埕偶戲館與李天祿布袋戲文物館。
最後則是探究這些傳統戲曲館的展示空間，如何藉由展示的語彙重構傳統戲曲的意義。在公立的館舍均是由政府委託傳統戲曲領域的學者加以規劃設計，其展示架構最主要依照傳統戲曲領域的主要論述為基礎。而私有的館舍則是依照主事者的創意和特有的觀點來再現傳統戲曲。

關鍵字

博物館化 ； 再現 ； 傳統戲曲 ； 展示

並列摘要

The emergence of many museums in Taiwan was influenced by national cultural policy, as well as a global trend towards the conservation of cultural heritage. As many new museums were founded and heritage conservation got underway, the phenomenon of museumification also commenced. This research will first present an introduction to the history of museumification of cultural heritage in Taiwan, and analyze which factors influenced the process of museumification. In short, in which context and discourse cultural heritage became imbedded in the museum.
The main body of the historical introduction will discuss the process and context of museumification of the traditional opera, and the factors related to the historical development of traditional opera. This process started by the grand scale “folk theatre” festivals organized by the Council for Cultural Planning and Development, in order to promote the performance of traditional theatre. This was followed by the concept of the “Folk Performance Garden, a long-term policy to create a permanent performing space for traditional theatre and acrobatics. Traditional theatre was performed here in order to preserve its heritage and removed from its natural performance environment; this is the beginning of the process of museumification of the traditional performing art.
Later, the process of museumification gained momentum as in the 1990s the discourse changed from conservation of cultural heritage to the preservation of local culture at the grass-roots level. Many local administrative bodies reacted by actively creating symbols of local culture, and establishing many museums with a characteristic local content, such as the Taiwan Theatre Museum in Ilan; the Nan-Beiguan Music and Opera Meseum in Zhanghua and the Shadow Puppet Museum in Gaoxiong. On a non-governmental level there are also private initiatives to preserve cultural heritage, such as the TTT Puppet Centre in Taipei and the Li Tianlu Glove Puppet Theatre Hall.
Finally, we will analyze the exhibition space of these different institutions and see how they represent the essence of traditional theatre. Government institutions are planned by traditional theatre scholars aided by designers, their design concepts are based on the main discourse in their field of study. In private institutions more subjective and creative approach are applied in the representation of traditional theatre.

並列關鍵字

Traditional performing art ； Exhibition ； Representation ； Museumification

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