本論文以「閩台偶戲研究」為題，則設定研究的範圍主要以福建、台灣兩地在傳統偶戲源流上的傳承關係，以及因為地理、人文等個別環境因素影響下發展的經過，乃至現況的比較。就台灣現有的偶戲而言，「傀儡」、「布袋」、「皮影」三大種類均有存在，不過，傀儡僅有「提線」一種表演形式，沒有「杖頭」。然而，各類之中，除了皮影較為單純，僅流行於台灣南部一帶、共同使用潮調音樂之外，布袋戲和傀儡戲均有不同的分布範圍，且使用的音樂唱腔各有不同，並形成不同的流派。尤其是布袋戲，情況最為複雜，不但在傳統音樂的使用上有南管、北管、潮調之分，更因演師傳承的不同，代代衍生不同的派別，戲偶的造型上也因時代的轉變發展出各種類型的布袋戲，可謂百家爭鳴，各有所長。凡此種種，對於台灣偶戲劇種的歷史源流、傳承演變、發展現況乃至未來方向，均值得我們深入加以發掘、探討，以建構出台灣偶戲歷史的形貌。

布袋戲於臺灣已近百年歷史，它勇於就地謀生，汲取民間養分、庶民文化之特質，將流行元素置於文本結構、角色人物當中，使其歷百年而不墜，隨時代變遷而演進更生。本研究以霹靂布袋戲迷為主體，探討霹靂布袋戲迷文化之生成，為何而迷，著迷之物，以及迷、偶、官方—霹靂國際多媒體三者之關係。戲偶對於布袋戲迷而言並非死物，它趨近「仿人」式的擬真動作，即便在形體、動作上有其限制，該限制卻同時為發展之契機。經由霹靂國際多媒體塑造之偶，經由布袋戲迷及官方對偶之想像，賦神於偶，使「它」→「他」，「偶」→「偶像」。「偶」作為迷與官方之間的關鍵連結，雙方對「偶」的想像使三者形成密切網絡，迷與官方之間因「偶」的作用導致關係複雜多變。霹靂布袋戲迷透過迷活動實踐過程，將無生命之「偶」賦予生命，予無情者有情。 / Glove puppet drama in Taiwan has a rich history around one hundred years. It is characterized by absorbing nutrition from folk and popular culture, and also integrates with popular elements into texts and structures. This feature helps puppet drama to live and improve with the wheel of time turning. This paper will focus on the issue of Pili-puppet drama fans, including the discussion of Pili-puppet drama fan culture, process of being fascinated by the “puppet”, and the relation between the three: fan, puppet, and Pili Multimedia Inc.. To Pili-fans, glove puppets are not inanimate objects however, they are idols with feelings. Though puppets are limited in doing some gestures, the limitation is the turing point on the contrary. Being structured by Pili Multimedia Inc., embraced with the imagination and fantasy by official organization and fans, puppets are empowered with spirits through transformation, the object “it” becomes “him/her”, “puppet” then becomes “idol”. The Pili puppet is a crucial element connected with fans and the producer. Moreover, the relation between fans and the producer is incredible complicated because of the “puppet”. Pili-fans empower the spirit on puppets with practice, making inanimate objects alive and with feelings, also.