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.
| Identifer | oai:union.ndltd.org:CHENGCHI/G0093451019 |
| Creators | 郭書吟, Kuo, Shu-Yin |
| Publisher | 國立政治大學 |
| Source Sets | National Chengchi University Libraries |
| Language | 中文 |
| Detected Language | English |
| Type | text |
| Rights | Copyright © nccu library on behalf of the copyright holders |
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