戲海女神龍

被王爺飯黏住的女子 掀起一場 布袋戲江湖的柔性騷動

本劇呈現台灣50年代,第一位布袋戲女演師江賜美歷經半世紀的心路歷程,以及其漂流走場之傳奇演藝生涯。以戲中戲的方式,跳脫出傳記式的寫實窠臼,環型的舞台裝置與空間中,百年歷史的古典掌中戲偶、刀光劍影的金光布袋戲偶和現代執頭偶同台較勁;真人與操戲師角色彼此交叉,展現「做台戲」隨著台灣社會發展的形式變遷,以見證近代布袋戲的興衰史。是一齣真實與想像、悲傷與歡喜、現代與傳統相互交融的精彩現代偶劇。

兩廳院「瘋狂菁英藝術節」參演節目
觀眾對象:12+
表演形式:布袋戲、執頭偶與真人共同演出
首演:2005年10月21日 台北國家戲劇院實驗劇場

製作人│李筆美
編劇│姜富琴
導演│姜富琴、鄭嘉音
布袋戲顧問│真快樂掌中劇團
布袋戲編導│柯世宏
舞台設計│李維睦
戲偶美術設計│葉曼玲
戲偶結構設計│鄭嘉音
音樂設計│Jeff (許向豪)
服裝設計│吳怡瑱
燈光設計│王天宏
舞台監督│雷若豪
戲偶製作│葉曼玲、鄭嘉音、李娟瑩、曾麗真
攝影│陳又維
演員│薛美華、曾麗真、鄭嘉音、柯世宏

 

 

 

Puppeteer Granny

A commotion aroused by a female puppeteer in male arena of traditional glove puppetry
“The Puppeteer Granny” portrays Taiwanese social life in the 1950s as well as the life of Si-mei Jiang, the first female glove puppeteer in Taiwan. Through this play we see her legendary career, on stage and in travel; we also see the rise and fall of modern glove puppetry is thus a witness of the social development in Taiwan. In the space in which the stage resembles a ring, the interactions of actors, glove puppets and table-up puppets express various dimensions of external and internal emotions and dramatic intensity between reality and virtuality. The puppeteers also reveal themselves on the stage as the characters of puppeteers. “The Puppeteer Granny” is such a play of conversations of reality and imagination, sadness and joy, and the modern and the traditional.

Program of “Mad Elite Festival,”National Theater
Premiere: Oct. 21, 2005 / Experimental Theater, Taipei
Playwright: Fu-chin CHIANG
Director: Fu-chin CHIANG, Chia-yin CHENG