| 摘要: | 目前台灣流行的布袋戲以霹靂及金光為主，霹靂系列劇集已二十多年，塑造的角色千餘，其風格形象雖然繁複多樣，但仍可歸類為幾個不同的類型，而道者，儒者，佛者、魔者幾乎成為定型類別，其中對魔的刻畫尤其詳盡細膩、有獨特的風格。金光布袋戲為後起之秀，而人物的設定也承續了相同的特色，在魔者的塑造，更加推陳出新。 本文以金光布袋戲劇集所刻畫的魔系人物為觀察對象，意圖顯現布袋戲中對魔的想像。第一章內容為研究的動機及方法。第二章追溯台灣布袋戲的源流，並說明其與時俱進的特色，例如說白、音樂、操偶等方面的進步，並強調在現代的消費模式中，布袋戲想在表演戲劇上有一席之地，人物的塑造、劇情的設計更是重中之重，而魔者的刻畫因此滿足了這樣的需求。 第三章的重點是對金光布袋戲中魔系人物的進行探究。先從早期不同的表演文本觀察魔系人物的樣態，再探索霹靂布袋戲的魔系人物刻畫，最後展現金光布袋戲魔系人物的各種類型。 第四章以故事為研究重點。佛國地門故事想要以抹除記憶的方式，幫助世人生活於幸福安祥的世界，反而被世人視者惡魔。佛國地門幸福安詳的理念和西方烏托邦思想、 中國儒墨兩家的大同思想有相似之處，本章於此也加以比較。本章除了討論佛國地門的魔性，也藉由其他人物反抗地門的作為，來探究個人的主體意識。 第五章說明金光布袋戲中魔系人物的四種類型，佛國地門故事展現的魔性本質以及其中呈現的主體性意義。 第六章為結論，並期許台灣布袋戲能保持其與時俱進的特質，永續經營。
At present, the popular puppet shows in Taiwan are mainly Pili puppets and Kimkong puppets.Pili puppets series has been around for more than 20 years.It has shaped a lot of characters.Although its style image is complex and diverse, it can still be classified into several different types.Taoists, Confucianists, Buddhists, and demons have almost become stereotypes. Among them, the depiction of demons is particularly detailed and delicate, and has its own unique style.Kimkong puppets show is a rising star, and the setting of characters also follows the same trend.In the shaping of the devil, it is even more innovative. This article takes the devil characters portrayed in the Kimkong puppets collection as the object.The intention is to show the imagination of the devil in the puppet show. The content of the first chapter is the motivation and method of the research.Chapter Two traces the origins of Taiwanese puppet shows, and explains its characteristics of advancing with the times, such as the progress in speaking, music, and puppetry.It also emphasizes that in the modern consumption, if Taiwan puppetry wants to have a place in the drama, the characterization and plot design are the most important things, and the depiction of the devil meets such needs. The third chapter focuses on the exploration of the magic characters in Kimkong puppets show.First observe the appearance of devil characters in the different performance texts in the early days, then explore the depiction of devil characters in the Pili puppet show, and finally show the various types of devil characters in Kimkong puppets. The fourth chapter takes the plot as the research point of view.The Buddha Kingdom wanted to help the world live in a happy and peaceful world by erasing memories, but was regarded as a devil by the world. In addition, the Buddhist concept of happiness and serenity has similarities with Western utopian ideas and Chinese Confucianism and Mohism. This chapter also compares them here.In addition to discussing the devil nature of the gates of Buddha Kingdom, this chapter also explores the subjective consciousness through the reactions of other characters against Buddha Kingdom. In the fifth Chapter, we explains the four types of devil characters in the Kimkong puppets show,the devil essence revealed in the story about Buddha Kingdom,and the meaning of subjective presented in it. Chapter sixth is the conclusion, and it is hoped that Taiwanese puppet show can maintain its characteristics of advancing with the times and continue to get advenced. |
