| 摘要: | 「布袋戲」曾經是台灣人民茶餘飯後娛樂，「雲州大儒俠」的出現更創造出高達97%的收視率，但面對社會的變遷，因應時代的潮流，布袋戲已逐漸沒落，長義閣掌中劇團創團於1945年，傳承4代， 成立至今已超過七十餘年，經歷過布袋戲的繁華時期及沒落，仍對布袋戲這門藝術的創新與傳承不遺餘力，並發展出四大系列演出作品，建立屬於長義閣特有的敘事語言，讓傳統掌中技藝保有傳統元素之餘，亦能持續創新及傳承。 本研究以長義閣發展脈絡及各發展歷程時期的經營以及演出為主要深入探討，架構上首先整理長義閣各時期的發展、表演型態與特色及如何在維持傳統中去做創新與突破，創造出新的布袋戲表演形式與新思維，並針對廟會民戲、公部門演出、商業演出各提一齣戲進行探析比較之間的差異。
“Puppet Opera” used to be the entertainment of the Taiwanese people after tea, and the emergence of “Yunzhou Great Confucianisma” created a rating of up to 97%, but in the face of social changes, in response to the trend of the times, puppet opera has gradually declined, Changyi Pavilion Palm Theater Troupe was founded in 1945, passed down for 4 generations, has been established for more than 70 years, has experienced the prosperous period and decline of puppet opera, still spared no effort in the innovation and inheritance of the art of puppet opera, and developed four series of performance works, establishing a narrative language unique to Changyi Pavilion. While preserving traditional elements of traditional palm skills, they can also continue to innovate and inherit. This study mainly focuses on the development context of Changyi Pavilion and the operation and performance of each development period.In terms of structure, the development of Changyi Pavilion in each period, the performance forms and characteristics and how to innovate and make breakthroughs in maintaining tradition, create new puppet opera performance forms and new thinking, and analyze and compare the differences between temple fair folk opera, public performance, and commercial performance. |
