| Summary: | 碩士 === 國立臺北教育大學 === 藝術與造形設計學系碩士班 === 98 === For a hundred years rooting and evolving in Taiwan, Hand Puppet has become an indispensable part of Taiwan's traditional culture. Today with the globalization, it has almost become an bright image of Taiwan in the world. The study takes Hsi-huang Chen, master of traditional Taiwanese Hand Puppet, as the study case, to discuss the inheriting of this art through the methods of literature review and field observation.
Discussing the historical development of Taiwanese Hand Puppet based on literatures, we can find that masters are the most important carrier and inheriting core for the cultural content of Hand Puppet. Since the traditional Taiwanese Hand Puppet attracted social and academical attention, although the status of the masters has been established, they has changed their roles from positive to negative, which forms certain frame of the valuation that restricts the developing and inheriting of the traditional Hand Puppet. With such a frame, the inheriting of Hand Puppet tends to follow the way of static and anti-contextual conservation, but the effect is poor. After one and a half years of field observation, it's found that the solid skills, on-stage strain capacity and the adjusting capacity of the traditional masters are absorbed and learnt from the mentoring system within some specific context.
In this study case, Hsi-huang Chen's career of glove puppet performance is as long as sixty of years. When he was 70 years old, he crossed the fields and co-performed with the modern troupes. Moreover, eight years later, he reformed the tradition, presenting an open and independent image against the environment which gave the Taiwanese Hand Puppet a unique learning model. From the study experience of the case, we can conclude some ideas as follow.
I. The masteric inheriting of Taiwanese Hand Puppet may tend to the learning of the cultural context.
II. The livelihood is connected with the skill learning, without separated from the industry.
III. New image of the traditional Taiwanese Hand Puppet should be interpreted.
IV. We should surpass the pure teaching of the knowledge, practicing the cognition of the traditional art within the life context.
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