當代臺灣布袋戲「主演」之研究

Research on Starring in Contemporary Taiwanese Puppet Drama

劉信成(Hsin-cheng Liu)

指導教授 ： 李國俊

國立中央大學/文學院/中國文學系/博士(2014年)

摘要

布袋戲是臺灣目前擁有最多劇團、最多觀眾、生命力最強的劇種之一，最具代臺灣文化特色的傳統表演藝術。其源自於大陸閩南地區，隨著閩南移民傳入臺灣，受到本土自然環境與時代變遷的影響，與民眾的生活產生密切關係，為順應臺灣環境的變遷，其演出的題材、形式、排場與場合、戲偶的造型／構造與操作方式、後場音樂的形制，甚或組織結構等，皆產生種種變革與新的藝術觀點，發展出獨具色彩的一門表演藝術。

　　本論文乃探討「人」的表演為議題，所取材研究範疇以「當代」布袋戲主演為主，即於1980年代以降，本土意識抬頭，官方及民間開始重視本土傳統文化，民間戲班除了平日「民戲」的演出形式外，亦多了「文化場」的演出場域，使得布袋戲藝人為了爭取演出機會，提昇個人或各派的知名度，就得考量藝術內容、形式的發展與創新，而費盡心思端出自家的拿手技藝來凸顯其藝術，以期受人青睞與重視。本論文為避免僅藉由史料上的文字記錄，而流於寫作上過於主觀性的判斷，故以尚活躍於當今舞台的演師為主要考察、訪談、研究對象。

　　布袋戲已隨著臺灣演出環境的變異，各時期有著不同指標性的演出內容與形式，從所謂的「古冊戲」→「劍俠戲」→「金光戲」，以至於現今的「文化場」型態等各時期的之劃分，其實並不明顯，各有其重疊的部分。就演師個人的生長過程，多數劍俠戲的演師大多出身於源自傳統鑼鼓的古冊戲時期、而金光時期的演師亦多走過劍俠階段，其呈現是一脈相連、交疊發展且不可切斷的關係。本論文採集目標盡量能涵蓋老、中、青等各年齡層之演師；並分別就主演的對於關目的編排、場上五音與口白的運用、操偶的技藝，與後場音樂、布景特效等場上的配合，做分析與探討，以印證「主演」有其編、導之功能，是影響整齣戲的呈現，乃掌一劇成敗之舵者。

關鍵字

布袋戲 ； 掌中戲 ； 偶戲 ； 主演 ； 頭手

並列摘要

The puppet show is not only one of the largest troupes, the most audiences and the strongest vitality of the dramas but also the traditional performing art of the most representative cultural characteristics in contemporary Taiwan. It originated from the southern region of the Mainland China and came to Taiwan with the immigrants. The puppet show produced all the changes and new artistic point of view on performing themes, forms, pomp and occasions, puppet shapes/structures and the modes of operation, the fields of music shape, or even organizational structure, etc. by the local natural environment, the changing of the times, the close relationship of the lives of people and the conformity of the changing environment. The puppet show develops the uniqueness of the performing arts in Taiwan.

　　This paper was to investigate the issue of "people" performing and its scope was set to the “contemporary” puppet starring. It was so called “contemporary” meant to the time of the 1980s in Taiwan. In this time, because of the rise of local consciousness, the government and the folk started to lay stress on local traditional so that the folk troupes could not only performed the folk form, but also performed the form of the “ cultural field ". In order to win the showing opportunity and enhance the reputation of individuals or the schools, the puppet performers considering the artistic contents and the developing and innovative forms stormed their brains to bring out their own specialty to highlight their artistic skills for getting the favors and attention. To avoid the written records on historical data and to engage in over subjective judgments, the performers who were active in the stage were adopted as main exploring, interviews, objects in the study.

　　According to the environmental variation in Taiwan, the puppet show had the indicating differences of the contents and forms in each period. From the so-called "ancient book drama", "swordsman drama", "golden-light show" to "cultural field", the patterns and the divisions of performance were not obvious and had the overlapping parts. On the personal growth process of the puppet masters, most of the puppet masters of the "swordsman drama" were from the time of the "ancient book drama" and the puppet masters of the "golden-light show" would rise through the "swordsman" stage. All of the puppet masters present a kind of connected, overlapping and non-cutting relationships. In this paper, the studying objects were included the old, the middle and the young puppet masters. They are respectively analyzed and discussed as a starring with the arrangement of the story, five vocal types in the stage and the use of the oral, the puppetry, the field of music, the scenery effects, and so on. It is proved that "starring" of the puppet show owning the screenwriting and directing functions is the main handler to control the success or failure of the whole play.

並列關鍵字

Puppet ； palm drama ； puppetry ； starring ； head in hands

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