後現代布袋戲特質應用於普普藝術風格平面設計之研究
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2010
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布袋戲對許多台灣人而言，不但是一種娛樂，同時也是極為重要的民間文化資產，在早期的布袋戲多出現於宗教性質的場合，做為人與神以及自然三者間的溝通橋樑，然而隨著時代的變遷，布袋戲亦呈現了許多不同的風貌，例如皇民化時期的武士裝扮，戒嚴時期的軍人裝扮，到現在最流行的霹霹布袋戲的中出現的東洋及西洋裝扮，同時也適時地反應當時的社會現況。在台灣的進入了後現代時期，布袋戲也隨著這股思潮產生了變化，以霹靂布袋戲為例，觀眾很容易從人物造型及故事內涵中發現許多後現代社會的縮影，在劇情的敘事手法上，已不再是以傳統忠孝節義為故事主軸，也不再有明確的時代背景。
普普藝術對社會批判的風格，亦是藝術家用來傳達對社會的觀感的手法。因此本研究以後現代台灣社會型態現象為基礎，透過布袋戲及社會之關聯以及普普藝術在台灣萌芽的過程的分析歸納，將後現代台灣的社會現象與布袋戲及普普藝術三者間的關聯性分析整理，最後以時下最受國人熟悉的霹靂布袋戲的發展及經營手法為個案，探討台灣後現代布袋戲與普普藝術文化面向之思考的相似之處，研究發現如下：
1.布袋戲有如為台灣社會的寫照，並融合了大眾文化與藝術為一體。
2.後現代的台灣處於一種既開放又保守的不確定性狀態。
3.後現代的布袋戲充滿互文的特色，並進入了商業的範疇及大眾文化的層次。
4.普普藝術在台灣之發展最明顯為解嚴後，最大的特色便是內涵多偏向諷刺政治、社會及文化的負面意象。
5.後現代的布袋戲與普普藝術在「大眾文化與藝術並存」、「商品藝術化及藝術商品化」、「對主流文化的迎合及嘲諷」、「對社會的反思」四個特點上有相同的文化面向思考。
最後一部分以研究結果為平面設之藍本進行創作，至於本研究結果是否也能應用在近年來發展蓬勃的多媒體之上以及台灣其它各藝術之間是否也產生了類似布袋戲及普普藝術的共通特質仍需要更深入的研究。
For many Taiwanese, puppet show is not only an entertainment but also a cultural poverty. Puppet show was used in religious ceremony as medium for communication between human beings, god and nature. As time goes by, its performance has changed. For example, when Taiwan was the colony of Japan, puppets dressed like Japanese samurais and during The Martial Law Period in Taiwan, puppets dressed like soldiers. Nowadays, the most famous Pili Puppet Show has started to apply modern Japanese and Western clothes in puppets; furthermore, the story usually reflects the condition of society. When Taiwan becomes a post-modern country, puppet shows also appears the characteristics of post-modern. Take Pili Puppet Show as example, the audiences are easily to find the description of the society from the appearance of the puppets and the story while watching the show. Besides, the main ideas of the plots are no longer loyalty, duty, integrity and justice. Moreover, there is no certain period in the story. The critical description of Pop art is also a way that artists like to use to convey the feeling of the society. Therefore, the study uses post-modern as the background to analyze the relation between puppet shows and society in Taiwan and how pop art develops in Taiwan. Secondly, the study analyzes the common characteristics of post-modern puppet, post-modern society and pop art. The research takes Pili Puppet Show as the case study to conclude the common characteristics in cultural thinking between post-modern puppet shows and pop art. There are five conclusions below: 1.Puppet show is like a description of the society which combines the folk culture and fine art. 2.Post-modern Taiwan is in a unstable condition which is open-minded and conservative. 3.Post-modern puppet show is full of intertextuality and enters the field of business and folk culture. 4.After The Martial Law Period, pop art develops the most in Taiwan and its cognition prefers to criticize the negative aspect of politic, society and culture in Taiwan. 5.The common characteristics between post-modern puppet and pop art are “co-exist of folk culture and fine art”, “commerce is art and art is commerce”, “accepting and criticizing the main culture.” ,and “introspection of the society”. The final past is to apply the conclusions for the graphic design. However, whether the conclusions can be applied into the multi-media or not and whether the same condition appears among the other tradition fine art or not is still an issue which needs further study.
For many Taiwanese, puppet show is not only an entertainment but also a cultural poverty. Puppet show was used in religious ceremony as medium for communication between human beings, god and nature. As time goes by, its performance has changed. For example, when Taiwan was the colony of Japan, puppets dressed like Japanese samurais and during The Martial Law Period in Taiwan, puppets dressed like soldiers. Nowadays, the most famous Pili Puppet Show has started to apply modern Japanese and Western clothes in puppets; furthermore, the story usually reflects the condition of society. When Taiwan becomes a post-modern country, puppet shows also appears the characteristics of post-modern. Take Pili Puppet Show as example, the audiences are easily to find the description of the society from the appearance of the puppets and the story while watching the show. Besides, the main ideas of the plots are no longer loyalty, duty, integrity and justice. Moreover, there is no certain period in the story. The critical description of Pop art is also a way that artists like to use to convey the feeling of the society. Therefore, the study uses post-modern as the background to analyze the relation between puppet shows and society in Taiwan and how pop art develops in Taiwan. Secondly, the study analyzes the common characteristics of post-modern puppet, post-modern society and pop art. The research takes Pili Puppet Show as the case study to conclude the common characteristics in cultural thinking between post-modern puppet shows and pop art. There are five conclusions below: 1.Puppet show is like a description of the society which combines the folk culture and fine art. 2.Post-modern Taiwan is in a unstable condition which is open-minded and conservative. 3.Post-modern puppet show is full of intertextuality and enters the field of business and folk culture. 4.After The Martial Law Period, pop art develops the most in Taiwan and its cognition prefers to criticize the negative aspect of politic, society and culture in Taiwan. 5.The common characteristics between post-modern puppet and pop art are “co-exist of folk culture and fine art”, “commerce is art and art is commerce”, “accepting and criticizing the main culture.” ,and “introspection of the society”. The final past is to apply the conclusions for the graphic design. However, whether the conclusions can be applied into the multi-media or not and whether the same condition appears among the other tradition fine art or not is still an issue which needs further study.
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Keywords
後現代, 布袋戲, 普普藝術, 文化, Post-modern, puppet show, pop art, culture