「五洲園二團」黃俊卿,承襲自父親黃海岱的藝術內涵與修為,進而從事內台布袋戲的演出,本研究以文獻資料整理其演出記錄,約三十五年,共有五十五筆,歷經內台布袋戲的草創時期、全盛時期以及黃金時期,儼然成為歷時最久,深具代表性的演師之一。 本文藉由訪談早期親身參與演出的團員,了解黃俊卿的演藝情形,並且確認《奇俠怪老人》的首次演出時間為民國四十三年九月一日,並將黃俊卿擔任團長及主演之劇團名稱歸納區分為:一、內台布袋戲時期,稱為「五洲園二團」。二、文化傳承民意延續時期,稱為「五洲園掌中劇團」。三、奠基傳統發揚創新時期,稱為「黃俊卿電視木偶劇團」。 筆者選擇黃俊卿的劍俠戲《忠勇孝義傳》以及金光戲《橫掃江湖黑眼鏡》為材料,以劇情編排、人物形塑及表演特色等,論述其表演藝術。最後再根據本研究所得,提出兩點建議:一、重新建構內台布袋戲的戲劇生態,協助劇團永續經營。二、嘗試建立演師的演出記錄,增補台灣布袋戲發展史的地圖。
Huang, Jun-Qing, the owner and leader of “ Wu Zhou Yuan 2nd Troupe,” follow his father’s thoughtfulness and self-cavitations of arts, then devote himself to performance of indoor puppet. This study is recorded by technical literature for 35 years with 55 different kind of information. They include initial stage, heyday and golden age. It seems that he is one the most representative artist. This article is mentioned by visiting performers who had performance experience at beginning. We can understand the performance status of Huang, Jun-Qing. And, we can confirm that first performance time of “ kî-kiap-kuài-nóo-jînis ” 1954/09/01. Huang, Jun-Qing was assigned the leader of the troupe. And, the troupe’s name is divided into 3 stages such as: 1. Indoor puppet stage, named Wu Zhou Yuan 2nd Troupe. 2. The culture which inherits will of citizenry, named Wu Zhou Yuan puppet troupe. 3. Keep traditional and innovation stage, named Huang, Jun-Qing TV puppet troupe. I choose “ tiong-ióng-hàu-gī-tuān ” and “ huâinn-sàu-kang-ôo-oo-gán-kiànn ” by Huang, Jun-Qing to discuss his performance art by story of play, people profile and characteristic, etc. Finally, I propose two points per this research as follow: 1. Rebuilt drama environment of indoor puppet, to assist puppet troupe runs forever 2. Try to build performance record of artist, and increase development history of Taiwan’s puppet opera.