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从40年前大众媒体时代开始以来,台湾布袋戏有了新的发展。它不只是一个与酬神活动相关的表演艺术,它发展出流行的电视节目(云洲大儒侠、霹雳布袋戏等),布袋戏与布袋戏大师也变成台湾文化运动的重要象征(黄海岱、李天禄等),而在两方偶戏影响下也发展出现代偶剧(鞋子、九歌、无独有偶等团体)。政府及民众也越来越重视偶戏对于台湾文化的意义。政府单位与个人收藏家收集了数万件戏偶与其它相关文物,台湾各地建立了偶戏的展示馆与举办相关展览。本文是以台北的林柳新纪念偶戏博物馆为主来分析偶戏在现代社会的意义以及偶戏作为博物馆展示的作用与功能。
Since 40 years ago when the mass media era began, there has been a new development in Taiwan’s bagpipes. It is not just a performing art that is associated with Paying God’s activities. It develops popular TV shows (Cloud Chaudes, Pili Puppet Show, etc.), and puppets and puppets masters become important symbols of Taiwan’s cultural movement (Huang Haidai , Li Tianlu, etc.), but also under the influence of the two parties even the development of the puppet show (shoes, nine songs, unique and even groups). The government and the public also pay more and more attention to the significance of dolls for Taiwanese culture. Tens of thousands of pieces of puppets and other related artifacts were collected by government agencies and individual collectors. Exhibition galleries for dolls and exhibitions were held in various parts of Taiwan. This paper analyzes the significance of the puppet play in modern society and the function and function of the puppet show as a museum display mainly in the Taipei Liulin New Memorial Play Museum.