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A Formation and Development of the Module System of Taiwanese Glove Puppets
Glove Puppet Play
|Abstract:||本論文針對台灣民俗雕刻的一個範疇──布袋戲偶雕刻──進行相關主題的研究，布袋戲偶是布袋戲的「演員」，因此也屬於民俗戲曲的範疇。布袋戲偶的製作並非只有雕刻的技藝，甚至還包括彩繪和織繡等工藝技術，台灣布袋戲偶的製作工藝可分為偶頭、偶衣、頭戴及道具等幾個部份，其中又以偶頭的製作最為關鍵，因此，布袋戲偶的製作者大多是以雕刻師為代表。模件(module)是工程學常用的概念，德國學者雷德侯(Lothar Ledderose, 1942- )以模件理論來分析中國文化和藝術中的模件化生產與創作，本論文則應用模件理論來研究台灣布袋戲偶，擬從以下幾個層面來討論：
This doctoral dissertation focuses on the research on some related themes in the field of folk sculpture, glove puppets sculpture. Glove puppets are “actors” in glove puppet play. Thus they are also categorized into the field of folk opera. Glove puppets making includes more than just skills of carving. Colorful painting and embroidering are also needed craft techniques. A Taiwanese glove puppet is composed of a puppet head, puppet costume, headpieces and properties. Among them, the puppet head is the most critical part in the whole process of making puppets. Therefore, most puppet makers are sculptors. “Module” is a concept frequently used in engineering. German scholar, Lothar Ledderose, analyze the module production and creation in Chinese culture and art with the theory of module. Here in this dissertation, module theory is used to investigate Taiwanese glove puppets in the following aspects. First, this dissertation briefly introduces the origin and development of Taiwanese glove puppets carving. This development of glove puppet carving also represents the formation process of module system of traditional glove puppets. Due to the fact the glove puppets are descended from Mainland China, understanding of it should starts from discussing wood puppets culture in old China times. Second, examine the structuring of module system of traditional glove puppets. Several aspects in traditional glove puppets, including plastics, performance and techniques are infused with module thinking. The number of modules is limited but is able to create a great variety of glove puppet plastics, which is called “To manipulate more by little” in Chinese. Among parts of a puppet, the head is like the soul of a glove puppet. Thus the dissertation also extends to cover the discussion of the module structure and meanings of categorization. In addition to all these features, the whole module system in traditional glove puppets also displays an appearance of esthetics of “Universals.” Third, discuss the Central China cultural background that lies behind the module system of traditional glove puppets. Categorized human figure images found in novels, Chinese opera, Physiognomy and Buddhist statues have helped set a firm foundation in this module system in the traditional glove puppet play. In traditional glove puppet play, the same face can be used to play various characters in various plays. This kind of human figure glove puppets has deeply affected the development of glove puppets in Taiwan, too. Fourth, with the glove puppets aesthetics diversion from pure literature plays to martial arts plays, the module system of traditional glove puppets gradually expands, but it also creates the remote factors for its gradual collapse. Aesthetic taste of the audience then slowly leans from an opera-like style glove puppet play with rich beautiful melodies to a play with dramatic story plot. This progress toward the direction of narrative drama style glove puppet play finally brings “Golden Light Glove Puppets Play” in late 1950s. The “Pan-Golden Light Glove Puppet Play” ultimately takes the place of traditional glove puppet play. The module system in traditional glove puppet play then faces the destiny of falling apart. Finally, from Golden Light glove puppet play, to the Television Golden Light puppet play and then the Pili glove puppet play by Wen-Ze Huang, the Pan-Golden Light phenomenon has been found to exist all the way in Taiwanese glove puppets play. This phenomenon establishes the genre of glove puppet play that is later called “Pan-Golden Light Glove Puppet Play”. This genre of glove puppet play, behind its emphasis on “Particulars”, which is a feature of playing each single role by only a single face, embeds a new module-like thinking in itself.
|Appears in Collections:||學位論文|
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