東南亞閩南布袋戲展

展出時間：2015年12月16日~2016年2月29日　10:00~17:00（除農曆春節，國定假日照常開放）
展覽地點：未來．傳統實驗基地（臺北藝術大學藝大咖啡對面）
主辦單位：國立臺北藝術大學傳統藝術研究中心、財團法人臺原藝術文化基金會（台原亞洲偶戲博物館）

布袋戲在歷史記載中大約於清初出現，流傳至今約有200年的歷史，在民間發展出各流派。
在亞洲國家，不只在中國、臺灣可以見到，隨著「下南洋」的移民行跡，在東南亞國家也有布袋戲劇團演出，在不同地區演變、融入當地文化。
因此，探究亞洲地區布袋戲的演變，研究範圍可謂極廣。除戲偶造型、尺寸；舞台雕刻、大小、造形；演出口白、後場樂曲等表面上的異同外，更可深入討論社會文化的影響，反映當時的人文歷史脈絡。
這是臺灣首次以泛閩南文化視角探討布袋戲在亞洲各地的流變，在展覽中，不但可見到古老的傳統布袋戲偶，也看得到布袋戲回應各地文化與時代需求產生的演進。傳統藝術的變與不變，如何隨著不同族群產生大異其趣的選擇？

【示範演出】
時間：2015年12月16日（三）16:00~17:30（東南亞與臺灣布袋戲研討會後）
地點：未來．傳統實驗基地（臺北藝術大學藝大咖啡對面）
內容：福和安掌中班：印尼布袋戲演出
　　　鳴玉鳳掌中班：馬來西亞檳城布袋戲演出
報名網址：已截止

東南亞與臺灣布袋戲研討會】
時間：2015年12月16日（三）13:30~15:45 （會後於未來‧傳統實驗基地示範演出）
　　　2015年12月17日（四）10:00~12:00
地點：臺北藝術大學國際會議廳
報名網址：http://goo.gl/forms/HiqFQ2l2ew
詳細資訊：pdf下載
指導單位：文化部

議程：
12月16日（三）
12:30~13:00　報到
13:00-13:15　Kaori Fushiki (Daisho and Keio University)
13:15-13:30　致辭
13:30-14:00　Carol Chia (Asia Institute, University of Melbourne)：新加坡布袋戲
14:00-14:30　Sooi Beng Tan (Universiti Sains Malaysia)：檳城布袋戲
14:30-15:00　討論及休息
15:00-15:30　Josh Sternberg (UBC, Canada)：印尼布袋戲
15:30-15:45　討論

12月17日（四）
10:00-11:00　羅斌Robin Ruizendaal（台原亞洲偶戲博物館）：布袋戲在中國、布袋戲在台灣
11:00-11:30　馬思源 & 羅斌Robin Ruizendaal（台原亞洲偶戲博物館）：緬甸布袋戲
11:30-12:00　討論
12:00　結束

【系列教育活動】

掌中戲乾坤

介紹布袋戲的角色、唸白、操偶……等，從零開始認識布袋戲
講師：台中聲五洲掌中劇團王英峻團長
時間：2015年12月26日（六）14:00~16:00
地點：未來．傳統實驗基地（臺北藝術大學藝大咖啡對面）
報名網址：http://goo.gl/forms/Ywuhr4EX8J

戲偶舞春秋

一代故事一代偶，
戲偶的演變十分鮮明的反映著時代與社會的變遷，
它們是如何演變成今日的模樣呢？
講師：台中聲五洲掌中劇團王英峻團長
時間：2015年1月31日（日）14:00~16:00
地點：未來．傳統實驗基地（臺北藝術大學藝大咖啡對面）
報名網址：http://goo.gl/forms/aQfldJW2Ov

世界偶戲大觀

講師：台原亞洲偶戲博物館羅斌館長
時間：2016年2月20日（六）10:00~12:00
地點：未來．傳統實驗基地（臺北藝術大學藝大咖啡對面）
報名網址：（籌備中）

布袋戲親子工作坊

講師：台原亞洲偶戲博物館
時間：2016年2月20日（六）13:30~15:30
地點：未來．傳統實驗基地（臺北藝術大學藝大咖啡對面）
報名網址：（籌備中）

Southeast Asia Glove Puppet Theatre Exhibition
2015/12/16~2016/2/29

From China to Taiwan and Southeast Asia
The Minnan glove puppet theatre has always been extremely mobile and puppeteers travelled wherever their skills were needed. Depending upon the region in Southeast Asia and Taiwan the potehi puppet theatre tradition has also proved to be flexible and open to innovation in some areas, as well quite conservative in others. Yet, no matter where potehi is performed, its basic elements remain the same: puppet music theatre with a traditional historical Chinese repertoire, performed as part of a religious celebration.
Glove puppet theatre originated in southern Fujian and followed migration patterns of the Chinese from that area. The establishment of Chinese communities in Southeast Asia and Taiwan required the presence of (puppet) theatre as part of religious celebrations. After the establishment of the People’s Republic of China in 1949, China basically closed its doors to private puppet theatre companies that wanted to leave the country, and the pre-1949 period of unrestricted travel between China, Taiwan and Southeast Asia was over. This resulted in widely different development of the genre in the different countries and regions. In Southeast Asia the Chinese were a minority in most countries (except Singapore) and puppet theatre companies were often the victim of anti-Chinese policies. Especially in Indonesia the repression was so intense during the New Order period from 1967-1998, that most ethnic Chinese even lost most of their capacity to read and speak Chinese. Although puppet theatre is now performed in the Bahasa language, the Indonesian glove puppet theatre performance practice, as well as the former potehi in Yangon, are/were almost frozen in time. In Singapore and Malaysia the companies were less restricted by socio-political developments. As there was little contact with China after 1949, Taiwan became a source of theatrical influence, which was mainly the music and singing style of the popular Gezaixi (opera) from Taiwan. Both in Singapore and Penang the traditional wooden carved stages have long been abandoned for painted plywood or metal stages, similar to the cloth painted stages of the Taiwanese Golden Rays stages. Only in Indonesia and with some Taiwanese companies we find the elaborately carved wooden stages.

The Companies

In every region in Southeast Asia and Taiwan most companies are still very much family based enterprises that rely heavily on family assistance in performance, costumes and prop making, music performance etc. People outside the family are hired on a regular basis and everybody is familiar with each other in the circle of potehi performers and musicians, which leads to both cooperation and bitter rivalry between companies.

The Puppets

The puppets that are used by the companies vary widely, but basically follow Fujian traditions. All companies in Southeast Asia and Taiwan posses antique puppets from China. Both in Singapore and Indonesia local carvers have developed their own puppet heads on the basis the Fujian tradition. In Penang many of the puppets in use are antique puppets that have been repainted numerous times and have also new costumes. These puppets have developed into a unique Penang style. In Taiwan the Golden Rays puppets have opened up a whole new avenue of puppet creation where the (creative) sky is the limit. Most of the traditional small puppets are produced in China.

Performance and religion

All companies mainly perform in a religious context of a temple celebration. Although recently all over the region there are performances in cultural centres, schools and shopping malls to promote the art of puppetry from a folklore point of view. The temple performances are preceded by ritual preludes that all companies perform. The structure of the performance, i.e. ritual prelude followed by a play, is still standard with every company. The repertoire of the companies is remarkably homogeneous, apart from the new plays developed for the Golden Rays puppet theatre in Taiwan.

Future developments

After 1979, China slowly started recovering from the destruction of the Cultural Revolution and opening up to the world. Many stages and puppets were destroyed and there was a tremendous activity to restore what was lost. There was renewed contact between Southeast Asian puppeteers and Fujian, but mainly based on the acquiring of puppets, as well as visiting ancestral homes and villages.
The widespread availability of television and other forms of mass media, meant that most performances of glove puppet theatre are now mainly there for the deities in the temples, while there is hardly any audience of mortals. As such, the important religious function of the puppet theatre ensures its survival. The role of glove puppet theatre is also changing to a representative of local culture and even national identity.
The glove puppet theatre in Southeast Asia and Taiwan has survived political turmoil and social changes. Every night there still are dozens of potehi performances all over Southeast Asia, Taiwan and Fujian. Glove puppet theatre in Southeast Asia will soon be embarking on a new journey, where temple performances, museum and other secular performances will occur side by side. Potehi is a unique element of the Asian performing arts. It will continue its old ways and find new roads of presenting itself. The puppets will never grow old.