本研究之目的可分為三個部分。第一，研究者在此論文中，深刻討論了角色扮演活動（cosplay）在台灣的現況與未來發展趨勢；第二，為進一步探究角色扮演活動在台灣的本土性，本研究將台灣角色扮演活動與發源地日本的角色扮演活動在活動特質上作出比較；第三，本研究以符號互動論與高夫曼的劇場論為主要切入觀點，研究台灣角色扮演活動如何透過人與人之間的互動被建構而成。 本研究採用質性研究方法，主要以參與觀察法與深度訪談法，並透過實地與網路進行了約一年的田野研究。研究者根據田野資料，整理出以下的研究發現： （一）在互動建構出角色扮演活動這方面，本研究分別從事前準備階段與實際活動階段來考察。在事前準備階段，角色扮演者（coser）與製作服裝道具的店家（或工作室），兩者之間在互動方式上出現了世代的差異；從早期的集體行動轉變為現今之個人行動。此外，本研究討論了角色扮演服裝製作面臨的趨勢：專業化、商品化與國際化。實際活動部份，研究者則區分了會場活動、私拍活動與其他活動，三者各有其不同的互動模式。 （二）與日本經驗相比，本研究發現台灣的角色扮演活動有兩個獨特之處。第一是台灣缺乏嚴謹的規範，第二則是台灣在霹靂布袋戲的部分有著大型的商業組織在幕後主導，甚至影響了角色扮演活動的實質內容，而在日本則無此現象。 （三）從符號互動論來觀察角色扮演活動時可發現，角色扮演活動中各個行動者的互動，共同建構了角色扮演活動。它不像小時候的扮家家酒遊戲，將未經世事的小孩進行社會化。而是角色扮演者脫離了日常生活的規範，去社會化之後，重新於角色扮演的場域進行的「再社會化」。從高夫曼的劇場論來看，角色扮演活動是一個劇班整體通力合作所建構出來的表演，在事前準備階段，劇班的幕後人員與角色扮演者一起建構出適合角色扮演者扮演的前台區域。在實際活動階段，則是由角色扮演者、馬內、攝影師與觀眾等人共同建構出前台的表演。 關鍵字：cosplay、coser、角色扮演、互動、建構、行動者、劇班 / The purpose of this study is threefold. First, it examines the current phenomenon of cosplay activities in Taiwan and discusses its future development. Second, the study compares the cosplay activities in Taiwan with those in Japan, where this cultural phenomenon was originated. Third, this thesis uses symbolic intercationism and Goffman’s theory of drama and theater as the main theoretical point of view, to explore how cosplay activities in Taiwan are constructed by different agents’interaction. The study utilizes qualitative research methods（including participant observation and in-depth interviewing techniques）to conduct field study about a year. Based on the analysis of the field data, some major findings are stated as follows: The thesis analyzes the construction of cosplay activities and divides the process into two parts: the preparing stage and the real-show stage. In the preparing stage, the cosers interact with those costume makers, and such interactions differ among different grenerations. While the early generation of cosers prefers to act in groups, the cosers from the new generation tends to act in solo. Furthermore, the researcher discusses three tendencies that costume making is facing: specialization, commercialization and internationalization. In the real-show stage, the thesis finds three types of cosplay activities: the exhibition activity, the photography activity and the third which is categorized as “other”. These three activities have different characteristics and different interactions. The researcher finds two unique characteristics existing in cosplay activities in Taiwan whild comparing with those in Japan. First, cosplay activities in Taiwan have loose regulations. Second, there is a large commercial organization which plays a very important role in PI-LI Chinese puppet show cosplay activities in Taiwan. This organization not only affects the contents of cosplay activities but also controls the resources in PI-LI Chinese puppet show cosplay activities. From the perspective of symbolic interactionism, the thesis claims that all agents involved in cosplay activites co-construct the cosplay activities. Unlike the playing house in childhood, cosplay activities are not a socialization activity which aims at teaching the rule of daily life. Instead, cosers escape from regulations of daily life and re-socialize in the cosplay field. From the perspective of Goffman’s theory, cosplay activity is a performance orchestrated by a team. In the preparing stage, all the backstage agents cooperate to set up a front stage area. In the real-show stage, there are managers, cosers, photographers and audiences co-construct the performance at the front stage. Keyword: cosplay, coser, costume play, interaction, construction, agents, team