台法偶戲創新與認同感建立之比較研究; Le th??tre de marionnettes en qu?te d’identit? et de public – Etude comparative du budaixi taiwanais et du Guignol fran?ais

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题名:	台法偶戲創新與認同感建立之比較研究;Le th??tre de marionnettes en qu?te d’identit? et de public – Etude comparative du budaixi taiwanais et du Guignol fran?ais
作者:	賴亭卉;Lai,Ting-hui
贡献者:	法國語文學系
关键词:	布袋戲;法國偶戲;身分認同;無形文化遺產;budaixi;Guignol;identity;intangible cultural heritage
日期:	2013-07-16
上传时间:	2013-08-22 11:46:35 (UTC+8)
出版者:	國立中央大學
摘要:	台灣布袋戲與里昂Guignol偶戲如今皆被視為在地的傳統布袋木偶劇，並成為當地城市甚至國家的代表意象，然而回溯兩者的起源，卻都與外地甚至外國有密切的關連。本研究欲比較此二傳統布袋木偶戲的發展現況、遭遇之困境與保存情形，並探討台法兩國對其傳統藝術保存暨補助之相關政策與偶師的相應做法。第一章首先介紹布袋戲與Guignol的歷史背景與演變，作為稍後比較分析之基準。除了探討關於歷來戲偶外型與偶戲演出形式改變而招致的「正統」、「傳統」爭論，也點出有關跨領域戲劇交流狀況以及與戲劇相關的商業化行為和爭議。本文嘗試比較兩種偶戲之演變與劇團經營模式之差異。第二章從觀眾的年齡層為分析基礎，探討觀眾數量與組成之變化及原因，並比較台法偶師、政府及觀眾在面對觀眾流失此相同困境時的因應之道。除了檢視傳統、金光、霹靂與Guignol偶師之作法有何異同，也觀察政府如何協助藝師兼顧藝術保存與商業行為。第三章著重在探究偶戲和政治之間的關聯性，探討歷來政府機關相關政策作法之動機，並比較台灣及法國與偶戲相關的文化政策。政府從對偶戲的管制到補助與重視、從打壓到協助保存，中間所經歷的轉折對偶戲與偶師有重大的影響。然而即使今日的政府與偶師們皆有心推廣偶戲，兩造想法與期待卻未必同調。現今兩種偶戲皆被視為重要文化遺產，背後的邏輯運作在台灣與法國卻有所差異，與雙方的政治外交情況不同關聯密切。藉由歷史與政治情形的簡單梳理，檢視為何台灣布袋戲與傳統Guignol相較之下被高度政治化與經濟。在全球化、現代化、都市化的影響下，傳統偶戲如何傳承下去？如何改變又不失本質特色，一直都是各時代偶師的課題。本比較研究藉由台法不同的經驗與做法，期待挖掘傳統偶戲更多的面貌與可能性。 The Taiwanese budaixi and the French Guignol of Lyon are both traditional hand puppet theater and are considered as one of representative local images, or even national ones, but their origines are deeply related with outlands. This research aims at comparing their development, predicament, and preservation, through related cultrual policies of the Taiwanese and Franch government and responses of puppeters. The first chapter introduces the historical background of the budaixi at Taiwan and the Guignol at Lyon along with their evolution, which will serve as the basis of the comparative analysis later on. The discussion focus on three topics: the evolution of forms and performance of these two puppet theaters, the debate about “authenticity” and “tradition” in terms of their changes, and the controversy concerning the commercialisation. This chapter tries to compare the difference between these two puppet theaters and their management. The analysis of the second chapter is based on the age of the audience. Discussions on their variation along with causes of these changes are advanced to compare the adaptation made by Taiwanese and French government, puppeteers and amateurs as facing this crisis in commun: the loss of spectators. It presents not only similarties and differences among the traditional budaixi, the jin’guang budaixi, the pili budaixi, and the Guignol theater, but also how the government assistes the puppeteers in both preservation of puppetry and the commercialisation. The third chapiter emphasizes on the link between these two traditional puppetries and the politics in their country. Through comparing related governmental cultrual policies and activities, we can find that Taiwanese and French government’s attitudes towards puppetry shift from censorship to encomium, from suppression to subvention. This distinctive transition has possitive enfluence on puppeteers. Nevertheless, the intention of government sometimes diverges from the vision of artistes. Although the budaixi and the Guignol theater are both considered as important cultural heritage in Taiwan and in France, the former is more politicized than the latter due to its delicate political situation, complicated historical background, and vulnerable diplomatic ties with others countries. How do the traditional puppet theaters survive under the influence of modernisation, urbanisation, and globalisation? How do they adapte with the new generation of audiences without losing their essential caracteristics? That is the question that every generation of these puppeteers ask themselves recurrently.
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