台灣布袋戲偶的模件體系之成形與發展

Abstract

本論文針對台灣民俗雕刻的一個範疇──布袋戲偶雕刻──進行相關主題的研究，布袋戲偶是布袋戲的「演員」，因此也屬於民俗戲曲的範疇。布袋戲偶的製作並非只有雕刻的技藝，甚至還包括彩繪和織繡等工藝技術，台灣布袋戲偶的製作工藝可分為偶頭、偶衣、頭戴及道具等幾個部份，其中又以偶頭的製作最為關鍵，因此，布袋戲偶的製作者大多是以雕刻師為代表。模件(module)是工程學常用的概念，德國學者雷德侯(Lothar Ledderose, 1942- )以模件理論來分析中國文化和藝術中的模件化生產與創作，本論文則應用模件理論來研究台灣布袋戲偶，擬從以下幾個層面來討論： 首先，簡介台灣布袋戲偶雕刻歷史的起源與發展，這同時也是傳統布袋戲偶模件體系的成形過程，由於台灣布袋戲偶是由大陸所傳，因此必須由古代中國的木偶文化談起。 接著，討論傳統布袋戲偶的模件體系的構成，傳統布袋戲偶不論在造型、表演、技藝等各層面都充滿了模件的思維，能以「有限」的模件發揮「以少馭多」的功能。由於偶頭是布袋戲偶最重要的靈魂，因此又特別討論偶頭的模件構成及其類型化意義。此外，傳統布袋戲偶模件體系也呈現出「共相」的美學面貌。 第三，討論傳統布袋戲偶的模件體系背後的中原文化背景，小說、京劇、面相學或佛像等等中原文化裡的類型化人物形象，為「眾人一面」傳統布袋戲「人形」偶的模件體系建構奠定基礎，並深深影響了台灣布袋戲的發展。 第四，台灣布袋戲隨著「由文入武」的審美意識轉變，傳統布袋戲偶的模件體系雖然逐漸擴大，卻也種下逐漸走向瓦解的遠因。觀眾的審美品味，逐漸由戲「曲」導向的優美曲調唱腔轉向高潮迭起的故事情節，在戲「劇」導向的歷史進程下，金光布袋戲終於在1950年代以後崛起，「泛金光布袋戲偶」終於取代了傳統布袋戲偶，傳統布袋戲偶的模件體系面臨了瓦解的命運。 最後，台灣布袋戲在金光布袋戲之後，歷經「電視金光布袋戲」，直到黃文擇的霹靂布袋戲，一直呈現「泛金光化」的現象，統稱為「泛金光布袋戲」，「泛金光布袋戲偶」在看似強調「一人一面」的「殊相」背後，其中卻也蘊含了新的「類」模件(Module-like)思維。This doctoral dissertation focuses on the research on some related themes in the field of folk sculpture, glove puppets sculpture. Glove puppets are “actors” in glove puppet play. Thus they are also categorized into the field of folk opera. Glove puppets making includes more than just skills of carving. Colorful painting and embroidering are also needed craft techniques. A Taiwanese glove puppet is composed of a puppet head, puppet costume, headpieces and properties. Among them, the puppet head is the most critical part in the whole process of making puppets. Therefore, most puppet makers are sculptors. “Module” is a concept frequently used in engineering. German scholar, Lothar Ledderose, analyze the module production and creation in Chinese culture and art with the theory of module. Here in this dissertation, module theory is used to investigate Taiwanese glove puppets in the following aspects. First, this dissertation briefly introduces the origin and development of Taiwanese glove puppets carving. This development of glove puppet carving also represents the formation process of module system of traditional glove puppets. Due to the fact the glove puppets are descended from Mainland China, understanding of it should starts from discussing wood puppets culture in old China times. Second, examine the structuring of module system of traditional glove puppets. Several aspects in traditional glove puppets, including plastics, performance and techniques are infused with module thinking. The number of modules is limited but is able to create a great variety of glove puppet plastics, which is called “To manipulate more by little” in Chinese. Among parts of a puppet, the head is like the soul of a glove puppet. Thus the dissertation also extends to cover the discussion of the module structure and meanings of categorization. In addition to all these features, the whole module system in traditional glove puppets also displays an appearance of esthetics of “Universals.” Third, discuss the Central China cultural background that lies behind the module system of traditional glove puppets. Categorized human figure images found in novels, Chinese opera, Physiognomy and Buddhist statues have helped set a firm foundation in this module system in the traditional glove puppet play. In traditional glove puppet play, the same face can be used to play various characters in various plays. This kind of human figure glove puppets has deeply affected the development of glove puppets in Taiwan, too. Fourth, with the glove puppets aesthetics diversion from pure literature plays to martial arts plays, the module system of traditional glove puppets gradually expands, but it also creates the remote factors for its gradual collapse. Aesthetic taste of the audience then slowly leans from an opera-like style glove puppet play with rich beautiful melodies to a play with dramatic story plot. This progress toward the direction of narrative drama style glove puppet play finally brings “Golden Light Glove Puppets Play” in late 1950s. The “Pan-Golden Light Glove Puppet Play” ultimately takes the place of traditional glove puppet play. The module system in traditional glove puppet play then faces the destiny of falling apart. Finally, from Golden Light glove puppet play, to the Television Golden Light puppet play and then the Pili glove puppet play by Wen-Ze Huang, the Pan-Golden Light phenomenon has been found to exist all the way in Taiwanese glove puppets play. This phenomenon establishes the genre of glove puppet play that is later called “Pan-Golden Light Glove Puppet Play”. This genre of glove puppet play, behind its emphasis on “Particulars”, which is a feature of playing each single role by only a single face, embeds a new module-like thinking in itself.