新興閣掌中劇團

Hsin Hsing Ku Puppet Show Troupe, a profil


自由入座

 

   新興閣鍾氏開基始祖鍾五全於1828年(清道光8年)從福建漳州渡海來台,於西螺落籍創立協興布袋戲團,至今已有一百七十多年。後歷經鍾登風、鍾登祿、鍾登壽、鍾秀智等,傳至鍾任祥乃正式以新興閣掌中劇團為名;第五代掌門人、現任團長鍾任壁承父鍾任祥志業,益加發揚光大,師承「閣」派的布袋戲已達百團以上,在戲界獨霸一方。

   於七十八年起率先舉辦的「掌中戲入校園」活動,以義演、示範教學期許下一代學生從欣賞、學習、研究進而延續掌中戲傳統文化的命脈;因此,教育部設置的「民族藝術薪傳獎」鑒於鍾任壁在國內外教學、推廣的成績卓越而給予肯定,於八十年教育部頒發「薪傳獎」殊榮,八十一年榮獲台北市頒發第一屆「台北市榮譽市民」勳章,九十二年榮獲:雲林縣政府頒發「文化特別貢獻獎」、台北市文化局頒發「年度優勝劇團」及台北市政府頒發「布袋戲終身成就獎」等獎項,九十三年榮獲:台北市政府頒發「台北市模範勞工」、行政院勞委會頒發「全國模範勞工」、陳水扁總統親頒「文化貢獻獎」等獎項。目前受聘於國立雲林科技大學兼任教授。

     「一口道盡千秋事、十指弄成百萬兵」的掌中魅力,總能使從藝已逾一甲子的鍾任壁忘卻辛勞,無怨無悔。一路走來,最大的願望便是能薪傳新興閣精湛的掌藝,並藉由各種紮根、推廣活動,使傳統藝術能充實民眾的生活內涵,進而發揮移風易俗的社教功能,讓社會更充滿祥和、快樂。

     It was over 170 years ago that Chung Wu-Chuan arrived in Taiwan from Zhangzhou, Fujian, China in 1828, and settled in Siluo, where he founded the Hsieh Hsing Palm Puppet Show Troupe. That troupe had been directed by Chung Teng-Feng, Chung Teng-Lu, Chung Teng-Shou, Chung Hsiu-Chih and Chung Jen-Hsiang who finally officially rename it as Hsin Hsing Ku Puppet Show Troupe. Chung Jen-Hsiang’s son, Chung Jen-Pi, the 5th-generation head and the current director of the troupe further promotes the same devotion to an extent that there are now over a hundred troupes that are in the “Ku” school which account for a major corner of the circle of puppet show.

     The “Palm puppet show on campus” campaign was pioneered in 1989, which gave voluntary performances and demonstration to young students in hope that they appreciate, learn and research and further carry on the traditional culture of palm puppet shows. That was recognized by the Ministry of Education, who gave an “Heritage award” in 1991 for Chung Jen-Pi’s outstanding performance in the teaching and promotion both in Taiwan and overseas. More honor came, including the grant of the first “Honorary citizen of Taipei” by Taipei City in 1992, a “Special cultural contribution award” from Yunlin County Government in 2003, an “Annual excellent troupe” award from the Cultural Bureau of Taipei City and the “Career achievement in palm puppet show” award from Taipei City Government. Chung received the award of “Example laborer” from Taipei City Government, “National example laborer” from the Council of Labor Affairs, and a “Cultural contribution award” from President Chen Shui-Bian in 2004, and is now teaching at the National Yunlin University of Science & Technology

     The appeal of the palm puppet shows described as “Histories and legends from one month and million troops at ten fingertips” has always motivated Chung Jen-Pi to ignore the hardship and commit himself totally to this art that he has pursued for over six decades. Throughout the years of his pursue, Chung has wished nothing more than to pass down Hsin Hsing Ku’s superb art and to fulfill people’s life with traditional arts by means of rooting promotional activities, and, in turn, to make social cultivation happen for a more peaceful and happier society

西遊記之『三打白骨精』

    唐三藏與孫悟空師徒二人往西天取經,在鷹愁澗遇西海龍王敖閏之子將白馬吞下,悟空雖然手段高強也無法降伏龍怪,只得請來菩薩將龍怪變為白馬,馱唐僧取經贖罪。
    師徒二人走到高老莊,遇豬八戒欲強娶民女,孫悟空變化成村女並打扮為新娘,與扮新郎的豬八戒演出一場趣味橫生的鬧洞房,八戒不是悟空對手,後來才知道原來是菩薩交待要拜師的唐僧師徒,便歸皈同往西行。
    師徒三人來流沙河又遇到水怪,悟空與八戒無法過河而求助菩薩,菩薩命木吒前往收服水怪,原來也是等候取經人的捲簾大將沙悟淨。
一日師徒四人來到白虎嶺,白虎嶺有一個妖怪叫白骨精,因為聽說吃了唐三藏的肉可以長生不老,所以等在半途想伺機捉三藏。
    三藏師徒來到白虎嶺時因腹中饑餓,命悟空化齋。白骨精一見機不可失,化做一村莊少婦,手提飯籃假意經過,見三藏等人即表明齋僧之意,悟空恰趕回見到,因有火眼金睛一眼看出是白骨精,抽出金箍棒一棒將村婦打死,但白骨精使用金蟬脫殼之計,留下村婦屍體逃走。三藏見屍體以為悟空殺人,加上豬八戒在旁煽風點火,三藏唸起緊箍咒,經悟空一番哀求才得三藏原諒,繼續西行。
    白骨精用計失敗,又變成老婆婆沿途尋找女兒,悟空一看知又是白骨精,又一棒打死。三藏見狀又唸緊箍咒,悟空求情並述妖怪善用屍解法欺騙,其實屍體是假,妖怪原神已經逃脫無蹤。三藏無奈只好繼續西行。
    白骨精又變成老公公尋找老婆婆及女兒,孫悟空本想再一棒打死,又恐師父誤會,即叫山神土地做見證,是打死妖怪而非亂犯殺戒。悟空打死白骨精,叫土地眾神做證,三藏不信,將悟空驅逐回花果山。白骨精見機捉走三藏及沙悟淨。
八戒無奈,到花果山請回孫悟空,才能收服白骨精,師徒得以繼續取經的旅程。


 

小西園掌中劇團

BEHIND THE ACTORS


自由入座

     由許天扶創立於1913年,為完整保存台灣古典布袋戲風貌之經典團隊。團長許王為台灣國寶級偶戲藝術大師,素有「戲狀元」美譽,獲傳統戲曲薪傳獎、國家文藝獎與台北文化獎等各獎項肯定。

     2005年參加布拉格第九屆世界偶戲比賽,以「台灣廟會」為主題,豔驚四座,榮獲最佳演出技巧獎,2010年獲得臺北市傳統藝術藝師個人及團體獎。許王後因喪子之痛及過勞而中風,但仍堅強領導小西園演出,其薪傳門生遍及全台南北。

     The Hsiao His Yuan Puppet Theater was established by Mr. Hsu Tian-Fu in 1913. It is a theater company with a long heritage devoted to preserve the art of classical Taiwanese puppet theater. The current chief of the company, Mr. Hsu Wang, is one of the puppet art masters deemed to be a national treasure. Known as the "laureate" of puppet theater art, Mr. Hsu Wang has been a winner of numerous awards, including the National Traditional Theater Art Heritage Award, National Arts Award, and Taipei Culture Award.

     In 2005, Hsiao His Yuan Puppet Theater participated in the Ninth World Puppet Festival in Prague and performed a piece, entitled "Taiwan's Temple Fair". The puppet troupe not only swept away all audiences onsite but also won the Best Performing Techniques Award. In 2010, Hsiao His Yuan was further commended by the Taipei City Traditional Arts Awards for the individual artist and group awards. In an accident, Mr. Hsu Wang lost his son, and the mournful pain and over exertion finally gave him a stroke. Nonetheless, Master Hsu Wang still insists on leading Hsiao His Yuan Puppet Theater to perform in public and many of his apprentices are continuing the heritage passed down from him nationwide.

鄭和下西洋
     三寶太監鄭和奉旨,聘請國師金碧峰、和龍虎真人張天師輔助,航海西洋十八國尋找江山玉璽。明朝艦隊來到散髮國,被其軍師金毛道人阻擋;國師請西方護韋馱,天師調來玄壇趙元師,皆不能降服;國師再到三官大帝廟請來神乃兒相助亦敗。此時金毛道人之師兄武當真君也正好趕到,兩人欲以北極玄天上帝的令旗將整個明朝船隊消滅。
     國師正煩惱無法收服兩妖,巧遇千和、萬合二位仙童相助,得知二妖道的來歷,兩人乃為玄天上帝之部屬,因其主人降世明帝王永樂君,藉機下凡作亂。國師請出永樂君原神-北極玄天上帝收伏二妖道,降伏散髮國,明朝大軍繼續航行。


 

陳錫煌傳統掌中劇團

Chen Hsi-Huang Traditional Palm Puppet Troupe, a profile


自由入座

     陳錫煌先生曾於2007年獲「全球中華文化藝術薪傳獎」,是一位優秀的傳統布袋戲藝師,也是目前全台少數以83歲之齡(1931年出生,雙魚座),仍然活躍於舞台上可以完整100分鐘表演的藝師。

     陳錫煌自小跟隨父親李天祿表演,年輕時曾親下中南部,與布袋戲各名家交流,兼容並蓄自成一格,舉凡木偶的一顰一笑、一喜一悲,任何一個細微的戲偶動作,都表演得栩栩如生宛若真人。無論生、旦、丑、花,任何角色在他掌中操演起來自是靈活有度韻緻細膩,他的一生歲月見證了日據時代晚期與台灣光復初期布袋戲百家爭鳴的盛況,也經歷了現今社會結構轉變,傳統戲曲繽紛落盡的滄桑與無奈,他一生經歷可謂是一部活生生的布袋戲近代發展史。2011年再獲文化部文化資產局授證為「古典布袋戲偶衣飾盔帽道具製作技術保存者」,所以他是全台灣唯一一位獲得國家雙授證殊榮的國寶大師。

     陳錫煌長期投身於傳統掌中戲的傳承,念茲在茲的是傳統掌中戲的振興與發揚,深怕傳統薪苗無以為濟,因此毅然決然的再掌旗舵,鳩集門下弟子共同成立「陳錫煌傳統掌中劇團」,除了希望能發揚傳統掌中戲之美,將精緻的傳統掌中戲技藝有效傳承外,同時也希望能與更多不同領域的表演藝術交流,將台灣的掌中戲藝術推向另一個藝術高峰。

     Chen Hsi-Huang, winner of the 2007 “Global heritage award for Chinese cultures and arts”, is a prominent artist of traditional palm puppet show and at present at the age of 83 (born in 1931, a Pisces) one of the handful of Taiwanese artists who are still active on stage and can deliver a 100-minute full performance.

     Chen has performed alongside his father, Li Tien-Lu, since childhood. He had traveled to central and southern Taiwan when he was young to exchange with the distinguished in this art. He fused them to form a unique style, in which all puppet motions, from a smile to a frown, no matter how small, are delivered as if in real human being. Any character, a hero, a heroine, a clown, or a miscellaneous, is all rendered with delicacy under his manipulation. Chen’s life epitomizes the history of development of modern palm puppet shows, as he had witnessed the flowering of puppet shows with multiple troupes of various schools in the time just before and after the recession of Taiwan by Japanese, as well as experienced the transformation of modern social structure, where traditional dramas lost their glamour. In 2011 Chen further was certified a “preserver of the skill of the making of dress and decoration in classical palm puppet” by the Bureau of Cultural Heritage, Ministry of Culture, which makes him Taiwan’s only national-level guru that received double national certifications.

     Dedicated to the heritage of traditional palm puppet show over years, Chen has not had a moment forgetting the enlivening and development of traditional palm puppet shows for fear of the discontinuation of this tradition. He thus went back to the leadership without hesitation and rallied his disciples to jointly found the “Chen Hsi-Huang Traditional Palm Puppet Troupe”, hoping to celebrate the beauty of the traditional palm puppet show, to pass on the delicate skills of it effectively. It is also Chen’s wish to exchange with more performance arts in different fields, pushing the art of Taiwan’s palm puppet show to a next artistic level.

鮑自安打擂台
   濮天鵬落拓天涯江湖賣藝,一日揚州開場打拳賣藝,被余千鬧場羞辱一番,濮天鵬一時羞憤欲林中自盡,巧遇當地惡霸欒一萬的家奴華三千解救回欒家,原來欒一萬早和余千及其主人駱宏勳有閒隙,遂慫恿濮天鵬暗殺駱宏勳,卻失風被捕,所幸駱老夫人寬大為懷不予追究並資助其金錢回龍潭鎮完婚。
     一個月後濮天鵬奉岳父鮑自安之命回揚州登門拜謝,才知欒一萬請來四杰村朱龍、朱虎、朱豹、朱彪四位教頭,擺擂台打傷駱宏勳及余千主僕二人,兩人中鐵砂手命在旦夕,濮天鵬再匆匆趕回龍潭鎮央求岳父鮑自安親下揚州救治報仇,鮑自安本只肯捨虊不肯下揚州所幸鮑女金花用激將法,促使鮑自安下揚州覆倒擂台為駱宏勳主僕報仇。

*本劇亦文亦武,對白笑料百出是一熱鬧輕鬆的武俠好戲。

 

 

真五洲掌中劇團

Chen Wu Chou Palm Puppet Troupe, a profile

 


自由入座

       黃俊雄(1933年),出身臺灣雲林縣虎尾鎮,是黃海岱的次子,曾連任兩屆台灣省戲劇公會理事長。14歲起,隨父學習布袋戲。其作品《雲州大儒俠》是台灣電視布袋戲的經典作品,2002年榮獲第37屆電視金鐘獎特別獎,2011年榮獲國家文藝獎,授證「人間國寶」頭銜。

1970年3月2日,黃俊雄將黃海岱的《忠孝節義傳》改編,成為自己的首部作品《雲州大儒俠》,首創以布袋戲搬到電視上表演。他將布偶尺寸加大,強調眼部的神氣,以流行音樂取代傳統的鑼鼓。在台視播出後轟動全台灣,造成萬人空巷,連續演出583集,創下當年台灣電視節目最高收視率97%。1974年6月25日,乃遭國民黨政府以「妨礙農工作息」為由停播。

黃俊雄創造台灣布袋戲新的表演形式和偶戲表演美學,在台灣戲曲藝術中,具備代表性地位。精研布袋戲口白五音,將傳統台語文美感與布袋戲巧妙結合,成為布袋戲後學典範;所創造的多元化角色,多數成為典型,甚至文化形象之代表,讓傳統戲曲跨越舞台並結合新科技的表演形式,突破知識份子與普羅大眾的界線,創造嶄新的表演場域,在傳統偶劇表演成就與想像空間上具有標竿意義。

     Huang Chun-Hsiung (1933), born second son to Huang Hai-Tai, in Huwei Township, Yunlin County, was two time consecutively the president of Taiwan Drama Association. At the age of 14, Huang began to learn palm puppet show from his father. Huang’s work, the Scholastic paladin from Yunchou, was a classic among Taiwan’s televised puppet shows, which received a Special Award in the 37th Golden Bell Awards for TV in 2002 and the National Award for Arts in 2011; Huang himself was certified the title of “Human national treasure”.

     On March 2, 1970, Huang pioneered in presenting the palm puppet show of the Scholastic paladin from Yunchou on TV, which was his first work and was adapted from Huang Hai-Tai’s Stories of Virtues. Huang magnified the size of the puppets, highlighted the expression of their eyes, and used popular music in lieu of traditional drums and gongs. Since aired on TTV, the show became a sensation across Taiwan and achieved a then highest rate at 97% among all TV programs in Taiwan, with 583 episodes presented in a row, until June 25, 1974, when the KMT government ordered a stoppage of broadcasting using the reason of “obstructing agricultural and industrial working time”.

      Huang created a new form of performance and aesthetics of performance in Taiwan’s puppet shows, which earned him an iconic status in the art of Taiwanese drama. With the five tones of speech in the palm puppet show he perfected, he ingeniously merged the beauty of old Taiwanese language and the art of this show, creating a paradigm for subsequent palm puppet shows. Most of the diversified characters he created became typical or even representing cultural images, whereby he brought the traditional drama out of the stage to be combined with the form of performance of new technologies. A boundary between the intellectual and the proletariat for drama appreciation was thus shattered, and a brand new field of performance was created, which carries the significance as a guidepost in terms of the achievement in the performance of traditional puppet shows and the space for imagination.

雲州大儒俠-史藏秘辛大突破
       西南戰帥-藏鏡人邀約雲州大儒俠-史艷文¸至靈鏡峯和平談判。誰知節外生機¸蟒教主導教徒五百名¸安排毒箭萬弩陣¸欲殺史艷文。 正當史艷文要過奇林時¸霎那間 百弩齊發¸不幸史艷文身中毒箭¸但史艷文仍以寡敵眾﹑殺出重圍¸而在奇林黑夜之中¸逃入一所破爛寺廟而行蹤不明¸蟒教群惡繼續搜殺史艷文。 江湖中被稱為「西瓜組長」的真假仙¸得知武林戰事之後¸向武林各門派揚報史艷文戰死奇林……武林再起大風暴……。