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當期特展:《神匠鬼斧造容顏-臺灣木偶之父 許協榮》
更新日期:2021年05月05日

 

《神匠鬼斧造容顏-臺灣木偶之父 許協榮》

 Celestial Skills: Hsu Hsieh-Jung,
Pioneer of Taiwanese Puppetry


《神匠鬼斧造容顏-臺灣木偶之父 許協榮》主要展出「許協榮雕刻社」的作品,從泉州傳統風格木偶到金光戲偶,共展出百餘件創作。除了臺灣本土第一代的戲偶雕刻師許協榮藝師作品之外,其子許金棒從少年時期便克紹箕裘,有著精湛的雕刻技藝,本次亦將展出許金棒的作品。本次展覽也將呈現金光偶的劇場效果,以及金光偶製作的工法秘技,讓觀眾能夠進一步了解金光偶的世界。此外,也特別商請新興閣掌中劇團鍾任樑老師、光興閣掌中劇團林宏憲老師分別提供40年代金光時期保存至今的「大俠百草翁」、「斯文怪客」等許多經典戲偶共同展出,讓觀眾能夠再次回味內臺時期的戲偶歲月,感受屬於臺灣本土的金光戲偶雕刻之美。

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Celestial Skills:Hsu Hsieh-Jung, Pioneer of Taiwanese Puppetry” covers the work of two generations of puppet craftsmen— Hsu Hsieh-Jung, and his son Hsu Chin-Pang— which includes hundred of Hsu Hsieh-Jung’s works, showcasing the more traditional Quanzhou (Fujian) style puppetry and the more innovative Golden Ray Potehi. The son, Hsu Chin-Pang, started learning the craft when he was a teenager. He carries on his father’s work and has developed magnificent skills of his own. This exhibition introduces the viewer to the world of Golden Ray Potehi through a careful explanation of each puppet-making process, and technology in stage lighting. Also on view are precious artifacts lent to the exhibition by master Chung Ren-Liang of Hsin Shing Kuo Puppet Show Troupe, and master Lin Hung-Hsien of Guang-Xin-Ge Puppet Troupe—some of which came from 1940s, the golden era of Golden Ray Potehi, from the classic production such as Hero Pai Tsao Weng, Gentle Hero No Gentleman. Through these precious artifacts, visitors can once again return to the golden era of Indoor Theatre Performance, and experience the exclusive beauty of Taiwan’s Golden Ray Potehi culture.

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《神匠鬼斧造容顏-臺灣木偶之父 許協榮》
◎展覽時間:2021/05/01()-2022/02/13()
◎展覽地點:台北偶戲館二樓特展區

Celestial Skills: Hsu Hsieh-Jung, Pioneer of Taiwanese Puppetry
Date2021/05/01(Sat.)-2022/02/13(Sun.)
Venue2F Special Exhibition Area, Puppetry Art Center of Taipei

指導單位 Supervisor︳文化部
主辦單位 Organizers︳台北市文化局、財團法人台北市文化基金會、台北偶戲館

特展顧問Adviser︳曾俊豪
借展單位Exhibitors︳許金棒、新興閣掌中劇團 鍾任壁、光興閣掌中劇團
特別感謝 Special Thanks︳許金棒、新興閣掌中劇團 鍾任壁、西螺新興閣掌中劇團、光興閣掌中劇團、江武昌、Dmitri Carter

主辦單位保留活動異動權利
The organizer reserves the right to make changes to the event program.

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展覽介紹 ABOUT

1953
年新興閣掌中劇團鍾任壁開啟了金光戲時代的序幕,籍由跳脫傳統框架的劇本、舞臺設計、布景、燈光、中西合璧的音樂呈現、戲偶雕刻創作等創新,造就了金光戲的輝煌時代。其中許協榮(1925-2002)正是這次劇場文化革命中的戲偶雕刻師。許協榮開創了前所未見的新風格,光怪陸離的人物造型、巧思妙想的仙道人物,造就了無數戲劇中的靈魂人物,深深烙印在四〇、五〇年代人的心中。其雕刻技藝沒有師承,完全來自模仿前人木偶與自我不斷虛心學習,終成一代大師。其重要性如同眾人稱其之為「臺灣木偶之父」。

本次展覽呈現出臺灣本土第一代的戲偶雕刻師許協榮藝師,從泉州傳統風格木偶的雕刻作品到金光戲偶的創作作品,其中展出許協榮雕刻社百餘件作品,涵蓋兩代雕刻師許協榮與許金棒父子倆,而其子少年時期便克紹箕裘,延續著其父衣缽,有著精湛的雕刻技藝。

In 1953, The Hsin Shing Kuo Puppet Show Troupe under the leadership of Chung Jen-Pi ushered in an era of Golden Ray Potehi(
金光戲). Through innovations in script, stage, scenery and lighting design; fusing western and eastern style music; stylistic evolution in puppet making, the golden era of Golden Ray Potehi unfolded. Hsu Hsieh-Jung (1925-2002) was the lead puppet maker of this cultural revolution. He was the creator of innovative new styles including lustrous and uncanny figures, celestial beings of whimsical thinking, and the soulful characters of various drama that would go on to leave a deep impression on the audience of 1940s and 1950s. Hsu’s craft was self-taught. Initially he imitated predecessor’s wooden puppet work, and through repetitive practice and introspective inquiry developed his own style becoming the master of his generation, earning the name of “the Pioneer of Taiwanese Puppetry.”

This special exhibition covers the work of two generations of puppet craftsmen— Hsu Hsieh-Jung, and his son Hsu Chin-Pang— which includes hundred of Hsu Hsieh-Jung’s works, showcasing the more traditional Quanzhou (Fujian) style puppetry and the more innovative Golden Ray Potehi. The son, Hsu Chin-Pang, started learning the craft when he was a teenager. He carries on his father’s work and has developed magnificent skills of his own.

員林山仔頭藝師 Two Craftsmen from Yuanlin Mountaintop
許協榮開創臺灣戲偶前所未見的新風格,許金棒承其衣缽,有著精湛的雕刻技藝。本區以圖文及年表介紹兩位藝師的生命歷程,以及帶領觀眾重回內臺戲中的金光歲月。
Hsu Hsieh-Jung was the creator of unforeseeable new Taiwanese puppet styles. The son, Hsu Chin-Pang, carries on his father’s work and develops magnificent skills of his own. This section includes photos and a timeline that pinpoints each of the important events of these two craftsmen to bring visitors to return to the golden era of Indoor Theatre Performance.

木偶雕刻工法 Method of Making Wooden Puppets
透過展現金光偶的製作工法秘密,讓觀眾能夠進一步了解金光的世界。
This section introduces the viewer to the world of
Golden Ray Potehi through a careful explanation of each puppet-making process.

傳統的源流 Traditional Origin
許協榮早期受到歷史因素以及傳統閩南戲偶風格影響,刻製出許多傳統的生、旦、淨、末、丑、鬼怪等角色。
Under the influence of historical factor and Fujian Minnan style facial features,
Hsu Hsieh-Jung made many traditional puppets of the classical character troupe of Sheng(male lead), Dan(female lead), Jing(male supporting role), Mo(old man’s role), Chou(the jester).

人物寫實雕刻 Realistic Figures
許協榮在戲偶雕刻的表現上,除了人物臉部造型成功的塑造外,更進一步深入到人物情感中的喜怒哀樂變化與人物背景意義與意含相結。在其創作生命歷程中,寫實布袋戲偶一直是許協榮拿手一絕。
Besides creating life-like facial features, Hsu Hsieh-Jung was able to capture the complexity of feeling and shades of emotion in joy, anger, and sorrow—and connect it with the character’s upbringing and life experience, creating coherent existential meaning. In his life-long creation career, realistic Potehi puppet is always Hsu’s fort.

金光戲偶的源起 The Origin of Golden Ray Potehi
由於1952禁演外臺戲,導致戲團進入劇院內公演。在當時以劇院的形式演出,戲偶的造形與色彩表現要有別於傳統戲偶的造型、色彩及大小,螢光顏料的使用與燈光的操作造就了金光的效果,戲偶設計製作風格上根本的改變,可說是正式開啟了臺灣木偶在地化的先聲,也造就了影響至今屬於臺式偶頭的雕刻形式。
Taiwan’s ban on outdoor stage performance was issued in 1952. Consequently, theatre troupes adjusted their performance to indoor theater space. Newly adjusted to indoor stage performance format, the Golden Ray Potehi’s shape, color, size, and expression differ from its traditional counterpart. Furthermore, the use of neon paint together with lighting design created the effect of golden light. This fundamental alteration in style formally initiated the localization of puppet-style in Taiwan, setting the stylistic example for Taiwanese puppet figures to this day.