摘要
台湾霹雳布袋戏充分吸收了金光布袋戏的叙事经验,以超玄入幻的玄幻叙事作为剧本创作的核心策略,在叙事世界的搭建和人物塑造两方面具有鲜明的玄幻特征。玄幻叙事方面,在表层元素的挪用之外,霹雳布袋戏更将叙事世界和人物身份深度融合,因而具有了更深层次的文化意涵。霹雳布袋戏通过编剧小组对玄幻叙事的大力引介,成为台湾当代流行文艺和青年亚文化的重要组成部分;也将边缘化的布袋戏重新嵌入当代文化生活体系之中,实现了生活化的保护与传承。
Stemming from Jinguang glove puppetry,Pili constructs a fantasy narrative and makes its world and characters distinctively fantastic.Besides the employment of fantasy elements,its in-depth integration of its narrative and its characters endows it with profound cultural connotations.Thanks to the unremitting efforts of its scriptwriters,Pili has become an important part of Taiwan’s contemporary popular art and youth subculture.The once-marginalized puppetry has also been re-embedded into contemporary cultural life,protected and inherited as part of people’s daily life.
作者
杜晓杰
DU Xiaojie(College of Humanities,Guangxi Arts University,Nanning,Guangxi 530022)
出处
《文化艺术研究》
CSSCI
2020年第4期42-50,共9页
Studies in Culture and Art
基金
教育部人文社会科学研究青年基金项目“布袋戏发展史研究”(项目编号:19YJC760017)
广西“八桂青年学者”专项经费支持项目的研究成果。
