具体描述
布袋戏 (Potehi) 源起中国福建南部，是全世界最为精致的音乐剧场形式之一。在这本开创性的着作里，六位研究者勾画出布袋戏从福建传佈至台湾和东南亚地区之轮廓，包括印尼、马来西亚、新加坡与缅甸。本书着重于探究当前布袋戏如何在不同国家和地区内存续，从演出活动、语言、音乐、图像学和宗教信仰等不同层面，触及社会政治、文化议题。这本书含有丰富的图片以及深入浅出的内容，是研究与学习亚洲文化、剧场艺术之人士不可或缺的书籍。
The glove puppet theatre, potehi, which originated in the south of Fujian province, China, is one of the most elegant forms of music theatre in the world. In this path-breaking book, six researchers chart its spread from Fujian to Taiwan and Southeast Asia, including Indonesia, Malaysia, Singapore and Myanmar. The emphasis of this book is on how glove puppet theatre is currently functioning in these different countries and regions, touching upon sociopolitical and general cultural issues, as well performance practice, language, music, iconography and religious aspects of the genre. Lavishly illustrated and written in an accessible style, this book is an indispensable addition to the shelf of any student or scholar of theatre as well as a broader readership interested in Asian culture.
The glove puppet theatre, potehi, which originated in the south of Fujian province, China, is one of the most elegant forms of music theatre in the world. In this path-breaking book, six researchers chart its spread from Fujian to Taiwan and Southeast Asia, including Indonesia, Malaysia, Singapore and Myanmar. The emphasis of this book is on how glove puppet theatre is currently functioning in these different countries and regions, touching upon sociopolitical and general cultural issues, as well performance practice, language, music, iconography and religious aspects of the genre. Lavishly illustrated and written in an accessible style, this book is an indispensable addition to the shelf of any student or scholar of theatre as well as a broader readership interested in Asian culture.
著者信息
作者简介
Kaori Fushiki 伏木香织
是一位人类学家、民族音乐学家，于日本「大正大学」(Taisho University) 获得博士学位，目前担任该校文化研究副教授。她在印尼峇里与新加坡的社会学研究旨在探究音乐团体及其网络、地方认同与政治对传统和流行音乐之影响，特别着重表演艺术与宗教仪式之间的关联。她目前是「国际人类学与民族学联合会」无形文化资产委员会(the Commission on Intangible Cultural Heritage of the International Union of Anthropological and Ethnological Sciences) 的副主席。近期出版包括有关新加坡「歌台」表演之研究，以及新加坡与马来西亚两地民间道教信仰的灵媒体系之考察。
Robin Ruizendaal 罗斌
现任台北「台原亚洲偶戏博物馆」馆长、「台原偶戏团」艺术总监。荷兰「莱登大学」(Leiden University) 汉学博士。编导了廿多出现代与传统台湾剧场作品，并已于卅多个国家演出。他对多数亚洲偶戏传统进行过田野调查，并于世界各地策划了多次偶戏展览；着有Marionette Theatre in Quanzhou (Brill, 2006) 与 Asian Theatre Puppets (Thames & Hudson, 2009) 等书。
Kaori Fushiki 伏木香织
是一位人类学家、民族音乐学家，于日本「大正大学」(Taisho University) 获得博士学位，目前担任该校文化研究副教授。她在印尼峇里与新加坡的社会学研究旨在探究音乐团体及其网络、地方认同与政治对传统和流行音乐之影响，特别着重表演艺术与宗教仪式之间的关联。她目前是「国际人类学与民族学联合会」无形文化资产委员会(the Commission on Intangible Cultural Heritage of the International Union of Anthropological and Ethnological Sciences) 的副主席。近期出版包括有关新加坡「歌台」表演之研究，以及新加坡与马来西亚两地民间道教信仰的灵媒体系之考察。
Robin Ruizendaal 罗斌
现任台北「台原亚洲偶戏博物馆」馆长、「台原偶戏团」艺术总监。荷兰「莱登大学」(Leiden University) 汉学博士。编导了廿多出现代与传统台湾剧场作品，并已于卅多个国家演出。他对多数亚洲偶戏传统进行过田野调查，并于世界各地策划了多次偶戏展览；着有Marionette Theatre in Quanzhou (Brill, 2006) 与 Asian Theatre Puppets (Thames & Hudson, 2009) 等书。
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