磐宇木偶劇團《先天媽祖驅魔令》
Mazu Evicting the Evil by Pan Yu Puppet Troupe

演出
類別

表演藝術

時間

12月16日(日)19時00分

描述

磐宇木偶劇團於1974年由王文生創立,前身為聲五洲第三掌中劇團,後更名為「磐宇木偶劇團」;發源於布袋戲宗師-黃海岱先生,師事林瓊琪老師,為「五洲園」第三代之傳承,承襲布袋戲之:戲劇、文學、說書、哲理、操偶、雕刻、音樂、繪畫等技藝精隨,堪稱「八藝乾坤盡現掌中」。本團成立宗旨在於延續、保存偶戲傳統藝術之美,宣揚優良的道德精神。在偶戲保存與創作上,期盼達到「承先啟後」的作用。本團自編自導諸多戲碼,於台灣南北四處對台戲,皆獲勝連連。由於不足不滿於自己的藝術工具,團長開始臨摹大師加走先生的木偶,自己期望能有表現優良的演出精緻度、以期能將此傳統雕塑技術延續下去,隨著仿造木偶的技巧逐漸提升,也摻進了自身情感的表露,在每一次主演兼操偶的情況下,慢慢去塑造出個人風格的木偶造型,也創造出許多屬於本團的木偶。
但隨著時代變遷、科技快速變化而造成傳統布袋戲沒落,為求改善傳統技藝之沒落,致力於琢磨主演技巧「五音明辦」、開創刻偶手法「一刀流」、專研多項樂器「保留傳統」、結合數位科技「設計創新」等發展方式延續文化薪傳,具有在地性、獨特性,為台灣少見的全能型劇團。
 
Established by Wang Wensheng, the troupe changed its name from Sheng Wu Chou Puppet Troupe to PanYu Puppet Troupe. Beginning with the puppet master Huang Haidai, the troupe is now in its third generation, and its members learn puppetry techniques from Lin Qiongqi, inheriting the essence of traditional puppet-theater, literature, storytelling, philosophy, puppet control, sculpture, music and painting, which is why people describe the traditional puppet as a form of art which allows a performer to “demonstrate multiple skills with one hand.”
The purpose of the establishment of the group is to pass down and preserve the beauty of traditional arts while promoting decent moral values. In terms of the preservation and creation of traditional puppets, the troupe hopes it can inherit the wisdom of the previous generation and inspire the next generation. It also produces and directs a large number of original works, winning many competitions in Taiwan. Not being complacent about its artistic equipment, the troupe leader started improving his skills by copying puppets made by Chinese master Jian Jiazou, hoping to not only enhance the quality of the troupe’s performances but also to preserve and pass down the traditional crafting skills. As he made improvements along the way, he also integrated his own feelings into the puppets and gradually created puppets of his own style. He also made several unique puppets exclusive to the troupe.
 
However, as time flew by, the advances in technology began to overshadow traditional puppetry. In order to save traditional puppetry from faltering, the troupe focuses on refining a special performance skill called “the distinction of the five tones” and developing its own puppet crafting skill “one-sword school” while at the same time learning different kinds of instruments to preserve the tradition. By applying digital technologies to design and innovation, the troupe helps pass down the culture and has become a masterful troupe with local appeal and distinctiveness, which is rarely seen in Taiwan.

地區

臺中市葫蘆墩文化中心戶外廣場     (臺中市豐原區圓環東路782號)

購票
資訊

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洽詢
電話

0933-314389

活動
介紹

「媽祖」信仰發展至今已逾千年,從宋代之女巫、神女,至立代褒封為「夫人」「妃」「天妃」,直至「天后」,便透露著媽祖彰顯就渡眾生等神蹟;2009年媽祖信仰入選聯合國教科文組織人類非文化遺產代表名錄。
台灣,隨著閩粵移民「唐山過台灣」,媽祖信仰亦由福建莆田流傳而來,成為台灣最重要的神祇之一;初期先民來台拓墾,橫渡黑水溝(台灣海峽)之海神信仰,逐漸因地域遷移、社會過程、信眾需求等因素,演變為護船渡海、平亂助站、降雨救旱等無所不包的地方守護之神。臺中,距離莆田湄洲島僅有七十餘海浬,促使山、海、屯各區均發展出獨特具地方特色的媽祖繞境、進香、過爐、割火等各種祭儀,其中大甲媽祖遶境進香、旱溪媽祖繞境十八庄、新社九庄媽遶境、南屯萬和宮老二媽西屯省親繞境、浩天宮大庄媽北港進香回鑾遶境及梧棲媽祖走大轎儀式更被登錄為「民俗文化資產」,成為台灣媽祖信仰之冠。題材取自媽祖的故事、關於媽祖的文獻、書籍、網路文章等等彙整改編,以神話型態之伏魔降妖為故事基調,強化媽祖法力無邊的神明形象,故事內容人物使用本劇團親自雕刻媽祖偶頭、數位科技3D偶頭來使用與本團親自製作大型變景,增加劇情的豐富性和劇團的獨特風格​。