布袋戲又稱掌中戲,源於 17 世紀中國福建地區以戲偶表演的地方戲劇,偶頭雕作成中空,以手指套入操偶表演。傳統戲偶的頭、手、足皆以木頭雕刻,軀幹與四肢則用布料做出服裝。

傳統布袋戲演出可分為前場與後場,前場包含演師(頭手、二手)的掌中技藝及口白;後場負責配樂,於清代傳入時原有南管、潮調、白字戲三種流派,清末因北管音樂流行,因此紛紛改採北管,表演技巧也因北管的高亢熱鬧而做了許多創新,最明顯的是武戲增加了跳窗、擺陣及對打等特技以吸引觀眾,由「三分前場,七分後場」的行話,即可見後場對烘托戲劇效果的重要性。

演師是布袋戲表演的靈魂人物,他必須能靈活地搬演操縱各個戲偶、道具,不時還要唸白,並應對配合其他演師和後場的音樂節奏,栩栩如生地呈現掌中戲偶或文或武或嬌媚或詼諧的神態,生動地表現坐臥、奔跑、對打、抽菸、喝酒、撐傘等動作,為不同個性和性別的角色配以不同聲調,隨著戲曲的跌宕起伏,「一口道盡千古事,十指弄成百萬兵」。

隨著流行的轉變與政權的變遷,布袋戲也隨著時代而變化。因傳統的劇情不再吸引觀眾,日治時期改編自江湖奇俠仗義除惡的故事相應而生,而有「劍俠戲」之稱。皇民化運動時期,傳統戲曲受到打壓,布袋戲被改造為日本政府的政治宣傳工具,戲偶換上日本人的造型,演出日本的故事。戰後,又因應時局配合國民黨演出反共抗俄劇。另一方面布袋戲也開始轉入戲院內台售票演出,為了吸引觀眾,各種布景、戲偶、配樂及劇情等產生很大的變化,如原本在小戲棚表演的小戲偶,到了大舞台上,為使觀眾能看清楚,偶型愈趨巨大,操偶技巧改變;講究燈光布景,運用各種特殊效果與特技形式;採用現代流行音樂伴奏等,進而躍上廣播、電視等媒體。至今,臺灣布袋戲仍跟隨著時代的腳步,不斷改變、創造,呈現出傳統與創新共存的多元樣貌。

目前,傳統布袋戲的表演、音樂和戲偶製作等相關技藝,已受文化資產保存制度來保護與傳承,除了節慶活動與舞台表演外,更走向國際舞台。追隨流行文化腳步而生的電視、電影布袋戲,也打入了世界各國年輕族群。

Also known as palm opera performed using puppets, glove puppetry originates from the Fujian region of China in the 17th century. The head, hands and feet of the puppet are all wood carvings, with the head hollowed out so a finger may fit inside for the performance. The torso and limbs are made of cloth.

Traditional glove puppetry performance is divided into the front and back stage.The front stage showcases the hand manipulation skills and eloquence of puppeteers (first hand and second hand), while the backstage is responsible for the musical accompaniment. When the art was first introduced during the Qing Dynasty, the original styles included Nanguan, Chaozhou opera, and Baizi opera. At the end of Qing Dynasty, as Beiguan opera became more popular, the new style dominated puppetry performance, where adjustments had to be made in accordance with the high-pitch and exciting atmosphere characteristic of Beiguan. The most significant change is the addition of stunts such as window-jumping, posing, and dual fighting techniques in martial performances to attract a larger audience. The professional jargon of “thirty percent front stage, seventy percent backstage” demonstrates the importance of backstage support to enhance the dramatic effect on stage.

The spirit of the puppet show is the puppeteers, who must move and manipulate various puppets and props with dexterity. Simultaneously, they must take care of narration in coordination with other puppeteers and the rhythm of music coming from the backstage, to make the puppets come alive in their palms. The puppets are manipulated in accordance with their dramatic or martial characteristics with charming or witty expressions, with various postures or movements, including sitting, lying down,running, dual fighting, smoking, liquor-drinking, and holding an umbrella. Puppets of different genders and personalities paired with different vocal characteristics may rise and fall along with the opera plots: “One mouth tells the stories of all ages, and ten fingers turn into millions of soldiers.”

Glove puppetry has changed with the times along with changes in regimes and what is in fashion. When the traditional plots could no longer draw an audience during the Japanese colonial period, puppetry performances adapted various legends of folk heroes fighting evil to defend justice for the ordinary people, also known as the Swordsmen Drama. During the Japanization period,traditional opera was suppressed, and glove puppetry was forcefully transformed into a tool for Japanese political propaganda. The puppets became Japanese figures, dramatizing Japanese stories.
In response to the political circumstances after WWII, glove puppetry troupes began collaborating with the Kuomintang government and performed anti-communist and anti-Russian dramas. Furthermore, glove puppetry began to perform inside theaters with ticket sales. To attract the audience, great transformations took place in terms of stage sets, puppets, musical accompaniment, and plots. For example, small-sizepuppets fitting for a tiny puppet theatre stage became larger and larger on the bigger stage so the audience could see clearly. When the puppets became larger in size, the technique of manipulation also had to change, and the drama gradually placed more emphasis on lighting, the setting, applying various special effects and stunts accompanied by contemporary pop music, and even becoming radio broadcasts or TV programs. So far, glove puppetry in Taiwan continues to transform and create following the changing times, presenting a diversified outlook integrating the traditional and innovative elements.
Currently, the protection and continuance of traditional glove puppetry performance,music, and puppet production skills are under the cultural asset preservation system. In addition to festival activities and stage performances, the art of glove puppetry is also shared on the stage internationally. Glove puppetry movies and TV programs produced in adherence to popular culture have also become a familiarity among the younger generation globally.