布袋戲與我之間－《布袋戲風物：偶的故事偶來說》特展之觀眾研究

Glove Puppetry and Me: A Visitor Study on the "Treasures of Taiwanese Pòo-tē-hì: Our Puppets, Our Stories" Special Exhibition at the National Taiwan Museum

10.6686/MuseQ.202310_37(4).0004

林琮穎(Tsung-Ying Lin)；陳婉平(Wan-Ping Chen)

布袋戲 ； 觀眾研究 ； 個人意涵圖 ； pòo-tē-hì (glove puppetry) ； visitor study ； personal meaning mapping

博物館學季刊

37卷4期（2023 / 10 / 01）

79 - 103

繁體中文;英文

布袋戲是富含文化與藝術價值的臺灣傳統戲曲，更是見證臺灣歷史發展的重要無形文化資產。面對布袋戲文化快速流逝的現況，2021年時，國立臺灣博物館以西田社布袋戲基金會所捐贈的布袋戲文物為基礎，規劃《布袋戲風物：偶的故事偶來說》特展。本研究以該特展為場域，徵求24位觀眾，透過訪談與個人意涵圖，並參照臺灣的布袋戲發展脈絡，探討觀眾對「布袋戲」有何經驗與認識？在參觀展覽前後，對於「布袋戲」的想法有何差異？而觀眾對本特展的看法與感受又如何？首先，研究發現受訪觀眾主要透過宗教活動現場演出及電視節目觀看布袋戲，這兩類場合正是臺灣布袋戲文化於興盛時期的主要傳播媒介。從不同世代觀眾的個人經驗，更可一窺布袋戲的發展脈絡，從宗教活動場合的演出，以及金光、霹靂形式的電視節目，到轉化為藝文表演與文化教育素材。在觀眾參觀前的個人意涵圖與訪談內容中，多為簡述自身經驗與具體布袋戲人物角色等基礎認知；而在參觀後，多達近半數觀眾主動提出有關布袋戲文化消逝與傳承的想法。同時，可瞭解觀眾對戲偶製作的主題內容較感興趣，且心理測驗遊戲能引發觀眾參與。然而，受訪觀眾亦表示，整體展覽較缺乏互動性，可能難以引起對布袋戲不熟悉的觀眾投入其中。據此，本研究建議，面對高度動態性質的布袋戲文化，博物館應在靜態戲偶展示的同時，試圖透過能引起多樣世代產生共鳴的事物，結合互動體驗或動態活動，強化展覽與觀眾的連結程度與互動價值，實踐對大眾的文化資產教育功能。

Pòo-tē-hì (glove puppetry) is a traditional Taiwanese performing arts form. It is also an important intangible cultural heritage that reflects Taiwan's history and possesses significant cultural and artistic value. However, pò͘o-tē-hì has undergone rapid decline in recent years. In 2021, to address this, the National Taiwan Museum curated a special exhibition entitled "Treasures of Taiwanese Pòo-tē-hì: Our Puppets, Our Stories," featuring a collection donated by the Seden Society Puppet Theater Foundation. The aim of this study was to explore visitor experiences and understanding of pò͘o-tē-hì, as well as visitor thoughts regarding this art form before and after visiting the exhibition and opinions about and feelings towards the exhibition. Twenty-four visitors were enrolled and data collection methods included interviews and personal meaning mapping. From the results of this study, most participating visitors had experienced pò͘o-tē-hì at religious venues and through television programs, the primary means by which it was popularized in the past. The personal experiences of visitors from different generations resonated with the historical context of pò͘o-tē-hì, as it later evolved into art performances and educational resources. Prior to their visit, most of the visitors briefly described their own experiences and basic knowledge of specific pò͘o-tē-hì characters. After their visit, nearly half of the visitors actively shared their thoughts on the decline and preservation of pò͘o-tē-hì. They were interested in themes related to puppet making and enjoyed the psychological test-based game. However, they expressed concern regarding the general lack of interactivity in the exhibition, which may have prevented engagement with visitors unfamiliar with pò͘o-tē-hì. Due to the highly dynamic nature of pò͘o-tē-hì, museums should seek to enhance connections between exhibition content and visitors through interactive experiences or performance activities, to enable exhibition content to resonate with visitors from different generations. Such an approach can help to achieve the goal of public cultural education.

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