霹靂布袋戲主角素還真研究──以人物設定、戲劇表現為範圍

Abstract

摘 要

本研究旨在探討霹靂布袋戲主角清香白蓮素還真的人物設定，以及戲劇表現上的多樣化與奇特性。

霹靂布袋戲是產生於台灣的特別戲劇種類，脫胎於傳統說書的方式、俠義小說的內容，而注入更多的神魔奇幻的戲劇演出及故事描述，使得主角人物可以死生不息扭轉乾坤、時而隱藏時而顯現、面目千變多樣萬化，貫串於長達兩千多集的戲劇當中，而不令人生厭，常有耳目一新的新發展。素還真這一位角色歷經三十多年的演出，深受觀眾喜愛，並成為台灣社會家喻戶曉的明星偶像，主演的霹靂團隊經營有成，必有用心巧妙的地方。本論文嘗試從人物形象設定與環繞他的劇情安排，析論其豐富的戲劇表現。

論文交代研究動機與目的之後，首先介紹霹靂劇集的奇特性，呈現出虛構的武俠世界，有超越現實的世界宇宙觀、有善惡難辨的多元價值論、有符合現代的人生語錄，為素還真變化多端的人物設計，提供認識的基礎。接著就1988年至2016年間的六十幾部霹靂劇集，分析出以素還真本尊為主角，以及化作分身為領導的劇情發展，進而分別論述本尊形象與分身的多樣風采。最後綜述此一霹靂靈魂人物本尊、分身交替出現，跨越綿長的劇情，演出團隊為求戲劇表現效果，一貫持守的編劇手法有何殊勝之處。

關鍵詞：霹靂布袋戲、清香白蓮、素還真、人物設定、戲劇表現

Abstract

This research aims to explore the character setting of Qingxiang Bailiansu Su, Huan-Zhen the protagonist of the Pili puppet show, as well as the diversification and peculiarity of the dramatic performance.

Pili puppet show is a unique type of drama that originated in Taiwan. It is born out of the traditional way of storytelling, the content of chivalrous novels, and is injected with the fantasy of gods and demons drama performances, and story descriptions. The protagonist in Pili puppet show can live and die endlessly, and turn things around, sometimes hidden and sometimes revealed, with a myriad of changes, throughout the more than 2,000 episodes of the drama, rather than old typical scenarios, there are often refreshing new developments. After more than 30 years of performances, Su, Huan-Zhen is deeply loved by the audience and has become a well-known star idol in Taiwan. This thesis analyzes the rich dramatic performance of the character's image setting and the plot arrangement surrounding him.

After explaining the motivation and purpose of the research, the thesis first introduces the peculiar characteristics of the Pili series, which presents a fictional world of martial arts, a world cosmology that transcends reality, also describes the pluralistic axiology with difficulty distinguishing good and evil along with modern life quotes. It provides a basis for understanding the character design of Su, Huan-Zhen's ever-changing characters. Then, from 1988 to 2016, it analyzes the development of the plot with Su, Huan-Zhen as the protagonist and the avatar as the leader, and then discusses the image of the deity and the diverse style of avatars respectively. In the end, the thesis summarizes the uniqueness of the screenwriting techniques that the performance team has always adhered to in order to achieve the dramatic effect of this long story, and what's so special about the consistent screenwriting approach.

Keywords：Pili puppet show, Qingxiang Bailian, Su, Huan-Zhen, character setting, dramatic performance