頁籤選單縮合
題 名 | 臺灣布袋戲的武俠先鋒--劍俠戲=The Vanguard of the Emprise Style in the Taiwanese Puppet Show: The Swordplay Scene |
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作 者 | 謝佩螢; | 書刊名 | 淡江人文社會學刊 |
卷 期 | 22 民94.03 |
頁 次 | 頁35-56 |
分類號 | 986.4 |
關鍵詞 | 北管布袋戲; 劍俠戲; 本土化; 武俠; 俠義; Pei-kuan puppet show; The swordplay scene; Localization; Emprise; Knightliness; |
語 文 | 中文(Chinese) |
中文摘要 | 北管布袋戲是臺灣布袋戲本土化的開始,伴隨著音樂與題材興革的是布袋戲的表演技巧,由特技—技擊—武打,武俠戲經由劍俠戲的發韌、金光戲的成到電視布袋戲的發光大,此成為臺灣布袋戲的一大特色與主流發展。 武俠戲中的俠客形象、俠義內涵、「劍」「術」演出以及神怪荒誕傾向所形成的武俠風格,雖在金光戲中發展完成,但其基調和創造卻可謂是劍俠戲的延續。 |
英文摘要 | The Pei-kuan puppet show is the starting point of localization in the Taiwanese puppet show. The performing techniques of the puppet show developed from stunt to acrobatic fighting and fighting scenes, along with the revolution in music and subject matter. From swordplay senses, the Jin-guang puppet show, to the television puppet show, the emprise style has become, as a result, the dominant characteristic and mainstream of the Taiwanese puppet show. Although the emprise style of the Taiwanese puppet show, which is formed by the image of swordsman, knightliness, scenes of “swordplay” and “swordsmanship”, and the tendency of fantasy and absurdity are fully developed in the Jing-guang puppet show, its keynote and creation are simply a continuation of traditional swordplay senses. |
本系統中英文摘要資訊取自各篇刊載內容。