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Xie, Jiajing. "An Architectural Rendition of Shadow Puppetry: a Translation from Shadow Puppetry to Architecture Through Movement." University of Cincinnati / OhioLINK, 2017. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1491308486236146.
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Singh, Salil Kishore. ""Emerging from shadows" : the puppeteer's art in Tolpava Koothu, shadow puppetry of southern India /." Digital version accessible at:, 1998. http://wwwlib.umi.com/cr/utexas/main.
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Goodlander, Jennifer L. "Body of Tradition: Becoming a Woman Dalang in Bali." Ohio University / OhioLINK, 2010. http://rave.ohiolink.edu/etdc/view?acc_num=ohiou1276100866.
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Kent, Lynne. "Breaking the Fifth Wall: Enquiry into Contemporary Shadow Theatre." Queensland University of Technology, 2005. http://eprints.qut.edu.au/16147/.
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Practising Shadow Theatre in the West today means to subvert the predominantly negative view of shadow in the Western psyche, to transcend the faintly racist notion of shadow theatre as the quaint practice of traditional people of the East and to contend with the dominant influences of the electronic media on this once powerful and popular art form. This research is through creative practice in the form of the production, Cactus. This performance investigates the use of the screen in contemporary Shadow Theatre and the optimisation of the live theatrical experience. The performance also seeks to integrate mediatized and non-mediatized performance through the combination of live performance and projected images. My research is a social constructivist process to creative practice as research using a pluralistic approach including elements of action research and autobiography. The literature included for review in this study includes work by Brook, Grotowski, Auslander, Sontag, and Schechner. The literature analysis and previous training with Italian company, Teatro Gioco Vita, served to inform the application of my theories as praxis. The central question of this research project is: How can I break the fifth wall (which is the screen) in shadow theatre performance? Subsidiary questions are: How can we harness the advantages of both mediatized and non-mediatized performance to produce a contemporary shadow theatre form catering to the needs of a twenty-first century audience? How can I optimize the live theatrical experience? What is contemporary Shadow Theatre?
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Proßowsky, Bjela. "“How to Talk to Dragons” Insights into the Praxis of an Inter-Cultural Shadow Puppet Theatre Play." Thesis, Malmö universitet, Fakulteten för kultur och samhälle (KS), 2020. http://urn.kb.se/resolve?urn=urn:nbn:se:mau:diva-22271.
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Cultural diversity in a global community demands our tolerant understanding of one another. Participatory art projects can be instrumental in facilitating equal-footing encounters and creative communication between people from different cultures that transcend language barriers. Used as a methodology for synergistic exchange and exploration, they represent a useful tool for the study and advancement of alternative solutions to development-related themes, particularly where non-verbal communication is either essential or advantageous.This report considers an independent arts-based project, “How to Talk to Dragons”, which was carried out in Phnom Penh, Cambodia by cultural workers from Berlin. The inter-cultural project chose the art form of shadow puppetry to explore the country’s culture and the experiences of its people, and to exchange ideas and perspectives in an engaging and socially just forum. The question guiding this cultural voyage of discovery was how the symbolic dragon, a mythical creature with a global resonance but subject to different perceptions in Europe and Asia, might be used as an agent for opening the way to revealing insights into human nature.The report also explores the links between How to Talk to Dragons and ComDev practices and, by incorporating an auto-ethnographic approach, considers how this method can serve to provide a better understanding of practice and add value to project analysis from a practitioner's perspective.It finds that open concept projects offer an exceptional flexibility to adapt to local and cultural conditions and makes the case for the Cambodian shadow theatre known as Sbek Touch (literal meaning: small leather) as a valuable emancipatory tool for promoting communication across social, economic and cultural borders. It recommends further studies into its potential for raising and identifying sometimes controversial issues in a humorous manner and for uncovering collective solutions, particularly among marginalized communities and classes. Ultimately, the report points to Hooks’ “Practice of Love” as an overarching concept that can inform and transform activities designed to engage with and embrace diversity.
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Gamble, Chuck. "Shadow puppets /." Online version of thesis, 1992. http://hdl.handle.net/1850/11077.
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Stock, Marel Angela. "Puppets, Pioneers, and Sport: The Onstage and Offstage Performance of Khmer Identity." Diss., CLICK HERE for online access, 2009. http://contentdm.lib.byu.edu/ETD/image/etd2944.pdf.
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Crosby, Leah. "Never Again, Every Year." Ohio University Honors Tutorial College / OhioLINK, 2015. http://rave.ohiolink.edu/etdc/view?acc_num=ouhonors1429711176.
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Grant, Ian John. "Shadows, touch and digital puppeteering : a media archaeological approach." Thesis, University of Sussex, 2018. http://sro.sussex.ac.uk/id/eprint/80919/.
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Aims The practical aim of this research project is to create a multi-touch digital puppetry system that simulates shadow theatre environments and translates gestural acts of touch into live and expressive control of virtual shadow figures. The research is focussed on the qualities of movement achievable through the haptics of single and multi-touch control of the digital puppets in the simulation. An associated aim is to create a collaborative environment where multiple performers can control dynamic animation and scenography, and create novel visualisations and narratives. The conceptual aim is to link traditional and new forms of puppetry seeking cultural significance in the 'remediation' of old forms that avail themselves of new haptic resources and collaborative interfaces. The thesis evaluates related prior art where traditional worlds of shadow performance meet new media, digital projection and 3D simulation, in order to investigate how changing technical contexts transform the potential of shadows as an expressive medium. Methodology The thesis uses cultural analysis of relevant documentary material to contextualise the practical work by relating the media archaeology of 2D puppetry-shadows, shadowgraphs and silhouettes-to landmark work in real-time computer graphics and performance animation. The survey considers the work of puppeteers, animators, computer graphics specialists and media artists. Through practice and an experimental approach to critical digital creativity, the study provides practical evidence of multiple iterations of controllable physics-based animation delivering expressive puppet motion through touch and multiuser interaction. Video sequences of puppet movement and written observational analysis document the intangible aspects of animation in performance. Through re-animation of archival shadow puppets, the study presents an emerging artistic media archaeological method. The major element of this method has been the restoration of a collection of Turkish Karagöz Shadow puppets from the Institut International de la Marionnette (Charleville, France) into a playable digital form. Results The thesis presents a developing creative and analytical framework for digital shadow puppetry. It proposes a media archaeological method for working creatively with puppet archives that unlock the kinetic and expressive potential of restored figures. The interaction design introduces novel approaches to puppetry control systems-using spring networks-with objects under physics-simulation that demonstrate emergent expressive qualities. The system facilitates a dance of agency¹ between puppeteer and digital instrument. The practical elements have produced several software iterations and a tool-kit for generating elegant, nuanced multi-touch shadow puppetry. The study presents accidental discoveries-serendipitous benefits of open-ended practical exploration. For instance: the extensible nature of the control system means novel input-other than touch-can provide exciting potential for accessible user interaction, e.g. with gaze duration and eye direction. The study also identifies limitations including the rate of software change and obsolescence, the scope of physics-based animation and failures of simulation. Originality/value The work has historical value in that it documents and begins a media archaeology of digital puppetry, an animated phenomenon of increasing academic and commercial interest. The work is of artistic value providing an interactive approach to making digital performance from archival material in the domain of shadow theatre. The work contributes to the electronic heritage of existing puppetry collections. The study establishes a survey of digital puppetry, setting a research agenda for future studies. Work may proceed to digitise, rig and create collaborative and web-mediated touch-based motion control systems for 2D and 3D puppets. The present study thus provides a solid platform to restore past performances and create new work from old, near forgotten-forms.
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Lyra, Yarasarrath Alvim Pires do Carmo. "Protocolo lunar: processos criativos para a cena do teatro de animação na perspectiva de quem constrói e anima." Escola de Teatro, 2014. http://repositorio.ufba.br/ri/handle/ri/27199.
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Esta pesquisa se refere a um estudo prático-teórico, na linha de Poéticas e Processos de Encenação em Artes Cênicas e foi conduzida pelo desejo da pesquisadora de ampliar os conhecimentos de sua formação como artista e professora de teatro. Trata-se da produção de um contexto poético-reflexivo, no qual se cruzam três grandes campos: Processos Criativos, Imaginário e Teatro de Animação. Teve como objeto disparador a prática da atriz que construiu e animou seu próprio personagem-boneco no espetáculo Protocolo Lunar. Neste considerou-se as interfaces do Teatro de Animação como encenação contemporânea com estratégias metodológicas colaborativas. No referido contexto, foram compreendidos, interpretados e tornados visíveis Princípios e Procedimentos criativos de concepção, construção e atuação do personagem-boneco para cena a partir do ponto de vista de quem constrói e anima. Trata-se de metodologia adequada a processos de criação artística, que opera com a Abordagem Compreensiva apresentada por Sonia Rangel, a qual, entre outros autores, se apoia na Teoria da Formatividade de Luigi Pareyson. Igualmente, foram considerados os pensamentos de outros autores para fundamentar a pesquisa, tais como Ana Maria Amaral, Valmor Beltrame, Henryk Jurkowski, Gaston Bachelard, Cecília Almeida Salles, Ítalo Calvino, Klauss Vianna, Marco Souza. A pesquisa de campo foi desenvolvida a partir de Laboratórios Criativos com o Grupo Os Imaginários, além de incluir o diálogo com três outros artistas, Gil Teixeira, de Salvador, Bahia; Anibal Pacha, de Belém do Pará e Marcelo Lafontana, de Vila do Conde, Portugal, por meio de entrevistas. Eles foram selecionados pelo critério de também partilharem prática cênica semelhante. A perspectiva, além de registrar a memória de processos criativos em Teatro de Animação, é poder articular com outras pesquisas realizadas, colaborar com a discussão, o aprofundamento, os desdobramentos e a ampliação das reflexões que já existem neste campo.
This research refers to a practical-theoretical study, in the Poetics and Processes Staging Performing Arts in line and was driven by the desire of the researcher to broaden the knowledge of his training as an artist and teacher of theater. It is the production of a poetic-reflexive context in which intersect three major fields: Creative Processes, Imaginary and Animation Theater. Object was to trigger the practice of the actress who has built his own character and animated puppet-show in Lunar Protocol. This was considered the interfaces of the Animation Theater as contemporary staging with collaborative methodological strategies. In that context, were understood, interpreted and made visible Principles and Procedures of creative design, construction and performance character-puppet to the scene from the point of view of who builds and animates. It is suitable for artistic creation processes, which operates the Comprehensive Approach by Sonia Rangel, which, among others, rests on the theory formativeness Luigi Pareyson methodology. Also, we considered the thoughts of other authors to support research, such as Ana Maria Amaral, Valmor Beltrame, Henryk Jurkowski, Gaston Bachelard, Cecilia Almeida Salles, Italo Calvino, Klauss Vianna, Marco Souza. The field research was developed from Creative Labs with Imaginary Group and includes dialogue with three other artists, Gil Teixeira, Salvador, Bahia; Anibal Pacha, of Belém do Pará and Marcelo Lafontana, Vila do Conde, Portugal, through interviews. They were selected by the criterion also share similar stagecraft. The prospect, and to record the memory of creative processes in Animation Theater is able to articulate with other surveys conducted, supporting the discussion, deepening, the unfolding and expansion of reflections that already exist in this field.
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Bonnetier, Stanka. "Les Avatars et les métaphores de la figure humaine dans les spectacles contemporains de la marionnette." Thesis, Artois, 2011. http://www.theses.fr/2011ARTO0007/document.
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Cette thèse, relevant de la problématique des avatars et des métaphores de la figure humaine et deses multiples représentations scéniques, interroge les créations contemporaines de la marionnette. Elle a pourpoint de départ la pratique de la marionnette et la place conférée à la figure dans les dispositifs scéniques.Fondés sur des confluences des figures animées et des images de synthèse, les dispositifs contemporains issusdes nouvelles techniques de l’image et du son ont permis de dépasser la structure traditionnelle de lamarionnette. A mi-chemin entre poupée et forme raffinée, la marionnette dépasse ses contours et ouvre vers denouvelles représentations scéniques : des ombres, des doubles virtuels, des avatars de synthèse, pouvant êtretransformés et évolués en temps réel. Toutes ses représentations posent la question de l’incarnation. Ainsi lafigure de l’avatar se présente comme un possible prolongement de la marionnette. Les outils technologiquespermettent une nouvelle manière de former, d’élaborer la figure. Ils offrent une infinie possibilité de ladédoubler, de la multiplier, de la répliquer. Dans ce geste répétitif la figure tend progressivement vers uneffacement de ses contours. Loin de la forme anthropomorphique, elle symbolise le plus souvent une idée, unconcept, un mot en jouant sur l’essence de la matière et les agencements plastiques d’objets et de matières.Quant aux possibles dédoublements de l’interprète réalisés grâce aux technologies de l’image et du son, lecorps vivant en chair et en os se démultiplie dans des figurations comme les ombres, les reflets et les doublesvirtuels. Ces derniers deviennent un indice, une icône de notre présence. La démultiplication spatiale etcorporelle de leur présence iconique fait scintiller les nombreux subterfuges d’une ruse scénique. Car cettenouvelle figure, construite par les jeux d’illusions et de leurres qu’autorise l’usage du numérique effaceprogressivement les contours traditionnels de la figure humaine en brouillant les pistes d’une identificationtangible. Ces nouvelles figures se présentent comme des images décalées et sont une véritable invitation àpenser l’absence et la présence, l’apparition et la disparition. La figure s’ouvre à une interprétation multiple etoffre une vision différée en interrogeant la place de l’humain dans notre société. Les dispositifs scéniques quiabritent ces figures deviennent une véritable iconostase pour leur déploiement. Espace d’une fiction du regard,la figure compose et décompose sans cesse ses contours en offrant son image à celui qui la regarde. Lespectateur est invité à vivre une expérience oculaire en le transformant en véritable acte de voirThis thesis studies the problematics of avatars and metaphors of the human form and its manifoldstage representations; it questions contemporary ‘creation’ in the field of puppetry. The practice of puppetryand the place bestowed on the human form in staging devices are the starting point of the study. Located at theconvergence of animated figures and of computer graphics, contemporary staging devices that stem from newtechniques of sound and video have allowed us to surpass the traditional framework of the puppet. Halfwaybetween doll and refined figure, the puppet goes beyond its outline and opens the path towards new stagerepresentations; shadows and virtual doubles, CGI avatars, which can all be transformed and developed in realtime. All its representations beg the question of incarnation. Thus the face of the avatar is presented as apossible extension of the puppet. Technological tools allow new ways of devising and developing the face. Theyoffer infinite possibilities to divide the face, to multiply and replicate it. In this repetitive gesture, the facetends gradually to be effaced of its outlines. Far from the anthropomorphic figure, it symbolises here an ideamost often, a concept, a word that underscores the essence of the material and the visual arrangement of objectsand matter. As for the potential splitting of the performer achieved thanks to new technology in video andsound, the living boy in flesh and blood multiples as shadows, reflections and virtual doubles. The latterbecome a sign, an icon of our presence. Spatial and corporeal duplication of their iconic presence makes thenumerous subterfuges involved in a staging device sparkle. Because this new figure, built from simulatedreality games and digital lures, gradually erases the traditional contours of the human form by blurring thepaths to any tangible identification. These new forms are presented as staggered images and are a realinvitation to rethinking absence and presence, appearance and disappearance. The face/form is exposed tomultiple interpretations and offers a deferred vision by questioning the place of the human being in our society. Staging devices that shelter these forms become a true iconostasis for their demonstration. The face –the space belonging to the fiction of the gaze – incessantly makes and breaks its outlines by throwing up itsimage to those who watch him. The viewer is invited to undergo an ocular experience by transforming it into atrue act of seeing
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Kor, Yanna. "Les Théâtres d’Alfred Jarry : l’invention de la scène pataphysique." Thesis, Montpellier 3, 2019. http://www.theses.fr/2019MON30031.
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Associé tout d’abord au cycle Ubu, Alfred Jarry garde une position relativement marginale dans les études du théâtre français de la fin du 19e siècle. Etudié soit dans le cadre de la dramaturgie de l’époque soit comme un précurseur de l’avant-garde théâtrale, il reste l’homme de lettres passionné par le théâtre de marionnettes. Ce travail part de l’ambition de mettre en lumière un autre Jarry, l’homme de plateau, le marionnettiste dont les œuvres littéraires sont guidées par la pratique théâtrale. Une première partie analyse le modèle théâtral de Jarry dans le champ des arts de la scène de l’époque, le théâtre d’acteurs d’une part et le théâtre de marionnettes d’autre part. Une deuxième partie s’interroge sur la poétique jarryque de la perspective théâtrale, montrant comment l’esthétique de guignol et de théâtre d’ombres guide sa démarche littéraire. Cette approche reçoit le nom de « scène pataphysique » : un système qui permet à l’auteur de vivre artificiellement à l’intérieur de son œuvreKnown first of all as an author of the Ubu cycle Alfred Jarry remains relatively marginal figure in the French fin-de-siècle theatre studies. Studied as the play writer or as the precursor of the avant-garde theatre, he is seen as a man of letter who was passionate about puppet theatre. This work aims to valorise another Jarry, the man of the stage, the puppeteer whose literary works were influenced by the theatrical practice. Part One analyses Jarry’s theatre model in the field of the fin-de-siècle theatre, the living actors’ scene and the puppet theatre as well. Part Two focuses on the Jarry’s poetics, showing how the puppet and shadow theatre aesthetics guide his literary strategy. This approach receives the name of “pataphysical scene”: a system that allow the author to live artificially inside his work
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SHR, I.-ING, and 石怡穎. "“Play”with Shadow Puppets: Applying Drama Strategies to Teaching Shadow Puppetry in the After School Enrichment Classes." Thesis, 2016. http://ndltd.ncl.edu.tw/handle/68431776257958283192.
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碩士國立臺南大學
戲劇創作與應用學系碩士班
104
The main purpose of this research is to apply drama strategies to shadow puppetry teaching in after-school programs. The results of the study may be used in a case study for similar subjects in the future. The participants of the study were 11 elementary school students whose age ranges from 9 to 12 years. The instruction was divided into twelve weeks, including three stages such as script writing, shadow puppet making and rehearsal and performance. The results of this research could be used for reference for those who are interested in applying drama strategies to shadow puppetry teaching. The research aimed to reflect the effectiveness of drama strategies in the way students learn shadow puppetry. At the first stage of script writing, the drama strategies used included still-image, thought-tracking, collective drawing and teacher-in-role. The students were given the opportunity to adapt the picture books to the scripts, conducive to their learning. The next stage is puppets making, in which mimed activities provided the opportunities for the students to learn to stretch their body, and apply body stretching experience to puppet making. The students completed the rehearsals and performance, which was the last stage of the class, with the help of games, choral speaking, and action narration. These courses would boost the students’ confidence in the stage performance, and help them complete their tasks. The opportunities for teachers and students to learn together in the progress of experiments was also shown through the multiply drama strategies.
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Peng, Chien-Hua, and 彭建華. "“The Shadow Puppetry of Madam White Snake＂The Innovative Study on the Application of Cultural Innovative Added Value Shadow Puppetry to Lenticular Lens Video." Thesis, 2011. http://ndltd.ncl.edu.tw/handle/18250433786454561686.
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碩士樹德科技大學
應用設計研究所
99
The study mainly targets on Kaohsiung traditional Shadow Puppetry to research the core nature of traditional art to create and design 12 items of Shadow Puppetry added-value merchandises by extracting inherent culture. It mainly focuses on the story of ‘Madam White Snake” and is merged with the innovative thinking of the youngsters nowadays. With experimental techniques, it emphasizes on applying Lenticular Lens media to create visual light effects so as to display a visual aura of Shadow Puppetry. Meanwhile it is integrated with daily supplies to achieve the merchandized purposes of practicability, interaction, and culture. With the interchange between the merchandises and consumers, it expects to transmit the related cultural messages and spiritual aura of Shadow Puppetry. Consequently traditional will then be artfully merged with modern science through a new interpretation of the old culture and it will be further applied to our daily life wherein it give again the merchandise new vitality and sensual value and create a most valuable cultural merchandise.
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Li, Yan-Jie, and 李妍潔. "A Study into Animation Design for Cultural Heritage of TaiwanTraditional Shadow Puppetry." Thesis, 2012. http://ndltd.ncl.edu.tw/handle/85541448811760726109.
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碩士樹德科技大學
應用設計研究所
100
"Shadow Play" is a set of comprehensive art involving literature, music, painting, crafts and Chinese drama, which has been a precious cultural asset of Kaohsiung City since its introduction to southern Taiwan from Chaochow in Mainland China three hundred years ago. Since then, Ganashan Cultural Center Shadow Play Museum has become an important cradle for Taiwanese shadow play. Although the once flourishing traditional the shadow play fell into a steep decline during the twentieth century, indeed, shadow play has already evolved in many ways. The purpose of this research was to design a three-dimensional (3D) animation by integrating Taiwan''s traditional shadow play elements into modern animation design process through character design, manuscripts, storyboard and musical elements of traditional culture, which in turn allows users to understand the story and history of the shadow play and culture. It hopes that the digital shadow play could to increase the potential to sublimate culture and tradition.
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Lin, Li-ching, and 林麗卿. "A Study on the Construction and Management of Shadow Puppetry Digital Museum in Kaoshiung County." Thesis, 2008. http://ndltd.ncl.edu.tw/handle/93089616654946333610.
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碩士國立成功大學
藝術研究所
96
The main purpose of this study was to quote an idea from the new Museum Studies, explore the practical management and difficulty of Museum of Shadow Puppetry in Kaohsiung County, explain the relationship between Local Cultural Museum and Digital Era, and describe the related with these problem of management and establishment regarding Digital Archives and Digital Museum. This study focuses on the service’s improvement of Shadow Puppetry Digital Museum Website. We will offer suggestions to the issues such on the future prospect of Shadow Puppetry Digital Museum Website. The results of this study indicate that： 1. To enlarge the design of digital exhibition and provide the research publication of literature’s resources. 2. To increase the children’s edition and use the website on the willingness. 3. To produce the English edition to offer the international service and to correspond with the governmental goals of electronic linguistic services. 4. To emphasize the interactive design and exploit flash games for the effect of amusement and instruction. 5. To offer a convenient service in order that the public can use PDA or wisecell phones to download or apply those Shadow’s information. 6. To establish the data bank of the original and achieve the goal of the responsibility and enjoyment through operation the concept of Web 2.0. 7. To install the website of manageable software in order to detect the situation in their usage and to design questionnaires to understand the needs for user. 8. To design questionnaire and proceed the investigation of user’s need in order to control the future direction and goals. It is necessary to make good use of the Shadow Puppetry Digital Archives and propel the cooperative relationship among industries, authorities and academic circles in order to create a new prospect. As we can see, the main purpose in the above is to promote higher efficient added value of Shadow through the cooperation. In addition, in compliance with the sightseeing needs of the Kaoshiung Gangshan South R24, planning the whole methods of cultural tourism, and combination with the benefits from the cultural tourism of Ciaotou Sugar Refinery, Taiwan Screw Museum of Gangshan Town, the Digital Kaoshiung County Museum of Natural History, Green Pavilion and Lujhu Local Museum, Kaoshiung County has decided to combine Local Museum with Cultural Tourism to promote the development of the community and gain the identification of the community.
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Huang, Shu-Fen, and 黃淑芬. "A Research on the Roles of Characteristic and Action on Traditional Shadow Puppetry in Taiwan." Thesis, 2013. http://ndltd.ncl.edu.tw/handle/20480175852008528444.
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碩士東方設計學院
文化創意設計研究所
101
Due to the resemblance between its profile and an ape, the shadow play is also known as "leather monkey show", which is used in Taiwan. Two hundred years ago, shadow play was spreaded from the northern mainland, via Guangzhou and Chaozhou area into Taiwan. It was prevalent in the rural area of Kaohsiung, from the two-story row Creek (Erren) to the north and the Freshwater Creek (Kaoping Creek) to the south, with the bulk of audience being farmers and the majority of the performances being events to offer thanks to the gods or leisure activities during busy seasons. Affected by the development of film, television and multimedia technology, only Tung Hua Shadow Puppet Troupe, Yong Xing Le Shadow Puppet Troupe, Fu Xing Ge Shadow Puppet Troupe, and Hong Xing Ge Shadow Puppet Troupe remained to be active and all are located in Kaohsiung. Shadow play can be divided into art drama and martial drama; the contents of the former stress on singing and the latter on feats. Performances taking place in temple gatherings are usually based on art drama, while educational outreach performances by are based on martial plays where the characters become gods or animals, coupled with the vocabularies in vogue or local cultural characteristics to win the applause of the audience. The evolvement of the performance stage from wagon and scaffold to the theater and fine embroidery scenery indicates visible changes along social trends, offering the latest subject of research for the cultural design creative industry. This research studied the characteristics of the roles and puppets’ actions of the shadow play, and derived the following results: (a) similar to those of other genres of theater, shadow play’s roles still divided into sheng, dan, jing, mo, and chou, God and the strange to interpret the storyline. This study compiled features of the shadow puppets in Taiwan and China to be used as a reference for design. (b) shadow play is a plane performing art. This study decomposed and documented puppet player’s operation of the puppets in the backstage and presentation of the puppets in the performance, to provide audience a glimpse, via graphic illustration, into how inanimate shadow puppets are vitalized by operators’ nimble fingers and presented in a film-like visual effect along with commentary. (c) The Journey to the West is the story of Chinese mythology where the characters are known to all and cannot be arbitrarily changed; hence this study takes the leading role, Sūn Wùkōng, as an object of research. This study explores the puppets of Sūn Wùkōng of different preserved by the Yong Xing Le Shadow Puppet Troupe and the Tung Hua Shadow Puppet Troupe, and studied the evolvement of their modeling, size, color and pattern of different ages. (d) Analysis of the aforementioned two troupes and their current status, as a reference for future research.
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Li, Mei-yean, and 李美燕. "Taiwan Shadow Puppet Drama Culture Spreading, Innovation, and Development --- Kaohsiung Hsien JHU-WEI elementary school Shadow Puppet Drama Case." Thesis, 2005. http://ndltd.ncl.edu.tw/handle/me676j.
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碩士國立臺南大學
台灣文化研究所
93
“Ying Qi”, known as Shadow Puppet Drama, which includes Hand Shadow Drama, Paper Shadow Drama, and Shadow Puppet Drama. Shadow drama, as a traditional folk art, it generates all types of arts styles, which contain literature, music, painting, art craft and drama. Traced back into history since Chao Chou Shadow Drama first originated, the Shadow Puppet Drama in Taiwan has been through several stages of development, and gradually became an important part of folk arts, as well as an entertainment to the public, and crucial programs in temple celebrations, festival ceremonies, and bridal greeting banquets. However, just like many other folk arts, with intense competitions and developments from other modern and advanced entertainments styles, this “using light to grab shadow” Shadow Puppet Drama has failed to further develop its populations. For the material, cowhide, which requires for making puppets, is hardly available, plus requiring more time and efforts to make this craft, the population to appreciate, to watch, to learn this Shadow Puppet Drama art has declined. Pondering to break through this dilemma in passing down and creating new generations for this traditional art would be the priority. (Paper) Shadow Puppet Drama in campus is now a new form and opportunity for developing and reforming traditional Shadow Drama. Therefore, combined with documentary research and field interviews, this study would focus on the people, the thing, the place, and the object that involves with this (Paper) Shadow Puppet Drama in campus. Based on training structure of Shadow Puppet Drama in Chu Wei Elementary School in Kaohsiung Hsien, this research proposes educational functions and future expectations for practicing Shadow Puppet (Paper) Drama. As mentioned in this study, detailed summaries are written as follows. A. As written documents and dictation from elders, this study discovers origins of traditional Shadow Puppet Drama, and records transformations of this art through times. This also investigates the five current existed Shadow Puppet Drama Troupes, which include Fu Xing Ge, Yong Xing Le Shadow Puppet Drama Troupes in MiTuo Township, Dong Hua, Ho Xing Shadow Puppet Drama Troupes in DaShe Township, De Fu Shadow Puppet Drama Troupe in Gang Shan Township, and their structural organizations, development conditions, common features, and development difficulties. B. This study discovers origin and development of Shadow Puppet Drama in campus, and immerges ideas into Grade 1-9 Curriculum (including Elementary and Junior High School Education). Some clarifications and suggestions are proposed along with this study. C. With further investigation of training structure of Shadow Puppet (Paper) Drama of Chu Wei Elementary School in Kaohsiung Hsien, this study expects to establish more foundations, such as the foundation in Chu Wei Elementary School in Kaohsiung Hsien, creates and brings out more innovative perspectives for Shadow Drama in the future. Based on the discussions above, this study would give some suggestions to the academic circles, in hope that this traditional art in Taiwan would continue to exist and glorify in the future Taiwan society, and to bring more revolutions, as well as providing possibilities in Shadow Puppet (Paper) Drama education in the future.
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Tsai, Chieh-yun, and 蔡杰芸. "Anaysis of Four Scripts by the Hehsing Shadow Puppet Theatre." Thesis, 2009. http://ndltd.ncl.edu.tw/handle/56046699506836470634.
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碩士國立成功大學
藝術研究所
97
Taiwan Hehsing Shadow Puppet Theatre was suspended to perform in 2007, and possessed the cultural relics to the Kaohsiung County Shadow Puppet Museum to be reserved. At present the official website photoed or the scaned the cultural relics to the phantom files. However, the readers still cannot understand the scripts as well, because of lacks of clear explanation and definations. This article gathers four scripts of the Hehsing Shadow Puppet Theatre: "The Golden Tortoise", "Second Bloom of Plums", "Di Qing suppressed the West", "Nine Swords" and rearranges the form with vulgar table to explain the meanings. The research is organized as follows: Chapter 1 presents the development processes of Taiwan Shadow Puppet; Chapter 2 briefly states the writing techniques of scrips with the names of the tunes, marks, roles and plots; and Chapter 3 explores the relationships and actions of structures, conflicts and plots; Chapter 4 takes the main thought and the character portray as the major category. The functions and actions of communication are descripted from the dialogue, monologue and Off-Screen points of view. To sort out the scrips can reduce the wear of cultural relics and spread scripts freely, provides the scholarly research to discover different viewpoints. Hoping that in the future will have more cultural relics to be rebuilt in the forms of typescript or phantom, and it will be the significant contributions.
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Hsiao, Yi-Wan, and 蕭怡婉. "Modern Shadow Puppets’ Vivid Performance---A Study on Campus Creative Shadow Play of Taichung Municipal Xinyi Elementary School." Thesis, 2016. http://ndltd.ncl.edu.tw/handle/ch7bze.
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碩士國立臺中教育大學
美術學系碩士在職專班
104
The Shadow Play, playing shadow with lights, is our folk activity with long history, and also a treasured traditional craft. However, it has gradually been forgotten because of the limitations of the production and performance mode through the evolution of the times. It is commendable that Taichung Municipal Xinyi Elementary School "Oh~Yeh" troupe of modern shadow puppets has won the National Premium for eight consecutive years in the "National Student Competition Of Creative Drama Art". In this study, case study research is adapted, and the purpose of this study is aimed to investigate "Oh~ Yeh" troupe how to perform shadow puppetry in a modern way. Through file collection, participant observation and in-depth interviews to obtain the development experience. The gathered information was organized to realize the materizls and production of the shadow puppets, to explore the influences of the stage light equipment on the drama performance, and to analysis drama performance ways. This study would like to provide those who interesting in creating shadow plays, and to help the art of light and shadow last its fascination.
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Lin, Zih-Yuan, and 林子源. "The rise and fall of Shadow play from Okayama District Kaohsiung Museum of Shadow Puppet, Kaohsiung, Taiwan." Thesis, 2018. http://ndltd.ncl.edu.tw/handle/v8a3n4.
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碩士義守大學
應用日語學系
106
Shadow play is widely spread in Asia. Shadow plays all over the world inherit the cultures of all nationalities. Shadow play has a long history from China to Taiwan. Under the changing trend of the times, the traditional shadow play in Taiwan has gradually declined. In view of this, the purpose of this study is to explore the influence of history on the rise and fall of shadow play. And interview the Shadow play museum and the existing shadow play troupe. Trying to clarify the view of shadow play between museum and shadow play troupe. As a solution to the problems faced by shadow play in the future development. It also provides a strength for the future development of shadow play and sustainable development.
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Su, Chu-Hui, and 蘇巨暉. "A Study of Appling Shadow Puppet Show Elements in Computer Animation Arts." Thesis, 2008. http://ndltd.ncl.edu.tw/handle/94419573742636156192.
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碩士國立臺灣藝術大學
多媒體動畫藝術學系
96
In the 21st century, computer animation is an important visual media. The media improves many possibilities of the art performance. Different art creating theories and creating skills promote every kind of art performance. Chinese performing arts have their own characteristics and differ from the Western performing arts. It is due to the distinction of culture. Shadow puppet show is a very special form of the Chinese performing arts, and there are still many possibilities in the making of computer animation. Hence it is worth to combine the special form of the shadow puppet show and the advantages of the computer animation. Art can not exist without external form. Form and content form the peculiar art style. The script of the animation movie named “The Puppet” is written by myself, and the movie wants to creat a new visual-style as a form of shadow puppet show. Keywords: Computer Animation、Shadow Puppet show、Performing Arts.
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Shan, Mei-Ying, and 單梅英. "The innovative development of cultural assets for shadow puppet play in Chaojhou town." Thesis, 2017. http://ndltd.ncl.edu.tw/handle/836my9.
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Chen, Yi-Reng, and 陳怡礽. "A Study on the Music of Taiwanese Traditional Shadow Puppet Drama and its Developmentth." Thesis, 2010. http://ndltd.ncl.edu.tw/handle/50511063400740374679.
Full textAbstract:
碩士國立臺南藝術大學
民族音樂學研究所
98
The shadow puppet drama in Taiwan was originally from Chao Chow, located in the Guan Dong Province of China, and was very popular in the southern part of Chao Chow. These puppet performances play an important role in temple celebrations, festival ceremonies, and bridal banquets. However, because the inheritance of traditional shadow puppet drama techniques is “family-handed down” using a “word-of-mouth” method of teaching, the techniques now face the crisis of gradual decline. In Taiwan, only three shadow puppet drama troupes remain. The paper first investigates the origin of shadow puppet drama in Taiwan. This art form was created during China’s Han Dynasty, was passed through the Qing Dynasty, and finally spread to Taiwan. The drama has experienced the Japanese occupation in Taiwan, and is further impacted by modern day video and audio technology. The writer studies how the traditional shadow puppet drama has evolved with these environmental impacts. The most important puppet drama is the “Ban Xian” a play that is performed outdoors. The writer studies the Ban Xian on the spot in order to examine the differences between each of the existing shadow puppet drama troupes. Finally, the author investigates how the traditional drama can be handed down and further developed by the remaining three troupes. Because the traditional background music is mainly “Tio-Tiau” Music, the author outlines the “Tio-Tiau” Music and studies the background music and percussion music employed by these three shadow puppet drama troupes. In addition, the author also studies the differences between the musical heritage of these three troupes and examines if their current repertoires have preserved traditional music or have evolved over time. In conclusion, the author presents her opinion in the hope that the traditional puppet drama troupes can receive valuable help with their survival and development.
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Chen, Po-Hung, and 陳泊宏. "A Study and Creation of Contactless Gesture Recognition for Operating of the Shadow Puppet." Thesis, 2014. http://ndltd.ncl.edu.tw/handle/8x28br.
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碩士國立臺北科技大學
互動媒體設計研究所
102
Shadow Play is a kind of performance art operated by projecting the puppets on the screen through the light, it is also kind of integrated arts which combines art, sculpture, sing, music, performance. Nowadays, people influence by pop entertainment culture, the chance to perform Shadow Play is not as much as before, besides, the successor of Shadow Play almost disappear as the downturn situation of Shadow Play. Furthermore, the digital archives of Shadow Play recently is just turn the history data pages to digital pages, it is hard to deliver the vivid essence of Shadow Play, therefore, this study brings out an idea of combining digital technology and tradition culture with contactless gesture recognition technology (Leap Motion). The audience can not only be the artist to experience how to play Shadow Play but also play games by Addiction of Shadow Play, which is an interactive installation of Shadow Play. Through the feedback of interaction between the Addiction of Shadow Play and audience, people can get to know more about the history and how interesting of Shadow Play, besides, the Addiction of Shadow can help the museum provide a richness exhibition. The reference of this research based on the related content of Shadow play, the interaction design method of Leap Motion and game flow theory, following the research above to design and plan the Addition of Shadow Play, this interactive installation was developed with Unity 3D and Leap Motion. After finishing the demonstration of the Addition of Shadow Play, we invited five professions from multi-areas to evaluate, professions commonly consider this installation have the key to attract people to play, besides, they also provided advices of system interface and game content to this installation. As researcher targeted the operation environment of the Addition of Shadow Play is the situation of museum, therefore, we divided users into two groups, which were adult and children to conduct user observation and evaluation, the result of this research provided a satisfaction survey of this installation based on research methods like observation, game flow, system assessment scale. There were 30 children and 87 adults from Mi-Cang Elementary School, National Taipei University of Technology and Shih-Hsin University participant to the test evaluation of the Addition of Shadow Play. Eventually, the result of scale concludes that both of adult and children has reached equivalent level of game flow, and they feel satisfied with this installation generally. This research also brings out conclusions and future suggestion of this installation by investigating the results above. Hopefully this research can be a valuable reference of Leap Motion application based on the combination of traditional art culture and digital archives.
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Huang, Hsing-Wu, and 黃興武. "To State the Development of the School Touupe Vie the Modern Shadow Puppet Design." Thesis, 2016. http://ndltd.ncl.edu.tw/handle/vy3377.
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碩士國立臺中科技大學
商業設計系碩士班
104
ABSTRACT Shadow-puppet play, puppet show and "Glove puppetry" are collectively known as China''s three largest puppetries , because the shadow-puppet play shadows with a light for the style of performance in two dimensions, the performance required demanding environment. Although the shadow-puppet play into Taiwan has a history of nearly two hundred years, during its heyday in whole Taiwan there are more than seventy groups here , but till my study started the second investigation in 2016, we found that only four performance groups exist, so it’s one of the traditional puppet art needs immediate rescue. In1995, Kaohsiung County Shadow-puppet Museum began to promote leather (paper) shadow-puppet play in campuses, and held both "National Students’ Creativity Competition" and "National School and Community SP Competition " these two big events, that made it gradually expanded from southern to northern Taiwan。However ,while observing on its development process, we found some of the groups gave up after getting not good scores because of performing not well caused by the factors like design and manipulation .But viewing to the related discussion documents to related to the shadow-puppet play, rarely have particular chapters concerning about the transmittance and Loaded conjugate and manipulation , therefore in this study has collected all data according to the above to discuss in depth. The purpose of this study isn’t to create a "standard specification", but explore the context of cultural heritage objects and think of the development in campuses Taiwan shadow play by text research methods and referring to all documents and objects.On the other hand also exclude factors of non technical aspects and concerning for technical aspects of matters beset playgroups in schools such as lighting, cloth screens and even material’s transmittance , color change relevance, decorative materials and manipulation system’s influence on the scene with puppets, through interview and experiment operation, visiting four selected targeted schools from northern,middle and southern Taiwan to explore the theater development experiences and collecting samples for further test of implementation and comparative analysis. According to the conclusion of the research, under the same illumination , the color change of fluorescent lamp light is more approximate to the original color of the sample shadow puppet compared to other light sources. The transmittance of materials for puppet will change with various color changing effects with changing the cloth screen and lights .Decorative materials must be connected to transmittance and have function of the safety for students’ operation;and even larger linking operating lever can make the puppet manipulation works better. However this is just one of the factors that influence the development of SP in campuses, there are many other elements of the technical level, for example, erection angle and positions of lights and how the film screen cloth effects imaging .
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林聖澤. "The Creation for the Image of Shadow Puppet — The Cultural Product Design as Example." Thesis, 2010. http://ndltd.ncl.edu.tw/handle/02524130239277153065.
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碩士國立臺灣師範大學
設計研究所在職進修碩士班
99
There are three main puppet theater art forms in Taiwan: shadow puppet show, palmar drama, and string puppet show. Among these different puppet shows, shadow puppet achieves its special art style for the carving shape, color applying technique and the combination of shadow and light reflection performing style. The new generation media (such as movies and TV) has been popularized nowadays. It's very easy to access various of entertainment that brings people sensory excitement, which results in decreasing great amount of traditional theater audience. Under the current competitive and constantly changing business system, these performing art that aims for entertainment will lose their stage over new entertainment media form. The audience will be shrinking and the art culture will not even be survived unless they get the support from the government. This study takes successful cultural products case as example, discussing how to find the visual element and symbolic meaning of shadow puppet and apply the result in the cultural product design process and developing cultural creative product that matches consumer's preference. Other than exploring shadow puppet theater area, we also explore the possibility of creating economical value in the market. The theme of this thesis will discuss creation motives and purpose. By analyzing cultural creative industry policies, shadow puppet visual shape features cultural creative product design model and related cultural product case analysis, this study summarizes the thinking levels that designing cultural creative product needs. The levels are external look level, the user behavior mode and inner culture meaning and value. Besides applying these thinking levels to design process and explore with it. We can also recommend designer to survey the culture feature and then think about usability and functionality and finally realize and execute the product design with concrete shape and beauty before developing their cultural product. After discussing in this study, the final stage of the creation should be taking Taiwan traditional shadow puppet art as inner core of culture meaning and value. Through the product design process, we can explore the best presenting form of shadow puppet product design and taking usability into consideration, further come to design result with great visual look.
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Piperidis, Eleni. "The role of Karaghiozis in the awakening, formation and development of the Hellenic identity and consciousness." Thesis, 2014. http://hdl.handle.net/10210/9489.
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CHEN, CHIAO-YUN, and 陳巧芸. "The Visitor Experience Study of Traditional and Digital Exhibitions- Taking Kaohsiung Museum of Shadow Puppet for Example." Thesis, 2015. http://ndltd.ncl.edu.tw/handle/j2qhv2.
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碩士國立雲林科技大學
數位媒體設計系
103
Because the new technology has improved recently, the exhibition patter and the expression patterns also have diversified. From the traditional exhibition to the digital exhibition have affected the relationship between the viewers and the exhibitions. Thus this study mainly discussed the viewers in Kaohsiung Shadow Puppetry Museum to the differences between the traditional and the digital exhibition sorts. First, by investigating and analyzing the exhibition styles in the museum, and then observe the exhibition with the non-participant observation. Taking down the visitor behavior and experience, and comparing the difference between the traditional and the digital exhibition patter. Finally, taking half structure questionnaire, and understanding the construction of the viewers and discussing the viewers’ the level of satisfaction to exhibition condition. Taking one step head to discuss the influence to the viewers from the traditional and the digital exhibition. The study shows: （1）The exhibition patterns is the digital exhibition（52%）more than the traditional exhibition（48%）. We could know the digitizing and interaction are used generally in the shadow puppetry museum. （2）Combining holiday power , attracting power and experience action. The interaction of the digital exhibition is the best, and the next one is traditional participatory exhibition. The most same point between them is interaction. By the way, the viewers will have more interest in the exhibition and participation. （3）Combining the result of the satisfying questionnaire,the viewers have more satisfaction to the all of the exhibition in Kaohsiung Shadow Puppetry Museum. They also look forward to having more interactions with the exhibition in the future, and improve the contact of the exhibition. Giving the viewers diversify sense experience and knowledge feedback. Promoting the preservation project and shortening the time of the update. In order to attract the viewers successfully and reach the result of the leisure time. Bring the viewers more wonderful experiences.Most of the viewers expect to use the digital interactive exhibition to assist virtual interactive exhibition and emphasize interactive , combined the virtual and digital. To look forward to combine the shapelessness and virtual to reach unlimited possibility. Make the interactive and variety visit experiences in the museums. Finally, hope this result of the study could provide this kind of the museums when they plan the exhibition and the technology application. Moreover, do my best to spread the traditional art.
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Chang, Neng-Chieh, and 張能傑. "A Study of the Tung-Hua Shadow Puppet Theatre Play at the Commercial Theatre in Postwar Taiwan." Thesis, 2017. http://ndltd.ncl.edu.tw/handle/kq48bu.
Full textAbstract:
博士國立臺灣師範大學
台灣語文學系
105
“The commercial theater” includes the main part of the “commercial” performances. By means of paying for the tickets, the audience can get into the theater to enjoy the performance. It differs from the traditional performance- the play for the reward of Gods. The earliest commercial theater has begun in the Japanese colonial era. Japanese people brought into the modern theater culture, which changed the old form of performance. After 1945, the social environment was different from that of Japanese wartime. The local opera in Taiwan, once again, was active. The commercial theater created the golden age of traditional operas in Taiwan, and it was also an era in which traditional operas performed in competition with each other. To study the development history of operas in Taiwan, we couldn’t ignore the importance of the commercial theater. At the same time, it also could achieve the special types of the performances in traditional performances in Taiwan. Within the history developments of the shadow puppet play, it was also influenced by the commercial performances. This paper is based on the study of the development of the commercial theater culture, between 1945 and 1970, about twenty-five years of the shadow puppy play in postwar Taiwan. By means of the analysis of the data and historical articles, it indicated how the shadow puppy play developed its unique style of the performance, including the variations in music and visual actors, under the competition of the commercial theater culture. Most of the previous study of the commercial theater culture in the shadow puppy play was historical articles. Therefore, this paper mainly discusses on the performance activities and art show. So it took an example for Tung-Hua Shadow Puppet Play to be a stream part of study. Tung-Hua Shadow Puppet Play is a performance troupe of generations to generations. It is a historical troupe, which is the only one leading the shadow puppy play into the commercial performance successfully, in Taiwan. More, it is also a troupe, which is the only one performing everywhere in Taiwan to carry out the commercial performance. Through the study of the commercial performance data of the Tung-Hua Shadow Puppet Play, we could realize how the shadow puppy play brought out new styles of performance and developed what kinds of art in Taiwan. The paper is divided into two parts. The first part is discussing about the developments of the historical performance society and culture, and the second part is about the changing history of the script of the shadow puppy play. A script is an important spirit of a play. And from the different types of scripts, we could realize the influences of the audiences or circumstances in the period of time. At the same time, the influences could make the performance different from each other. According to scripts of the shadow puppy play, this paper will discuss the analysis of different commercial performances, which is producing what kinds of styles and their various localization characteristics. After 1966, there would be what variations of scripts would produce and the scripts of commercial theater would bring what kinds of influences in Taiwan. Keywords: Tung-Hua Shadow Puppet play, shadow Puppet play, commercial theater, leather play, postwar
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Xiao, Peng-wei, and 蕭朋威. "A study on Design and Effectiveness of Manipulation of Puppet Shadow Game-Based Learning with Inverse Kinematics Technique." Thesis, 2011. http://ndltd.ncl.edu.tw/handle/87071572181889051163.
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碩士國立新竹教育大學
數位學習科技研究所
100
Dissemination of traditional Chinese Puppy Shadow is the unique history and culture rather one of the local performing arts, but also a civilian population and popular recreational activities. The government has slowly and promotion of traditional arts in recent years, Puppy Shadow’s movement is very entertaining. This study implements” Inverse Kinematics technique of Flash CS4”, and set IK bone in the Puppy Shadow’s joint and simulate Puppy Shadow’s action. Building shadow interest in stand-alone digital learning system, and observe the actual impact dual action movement and designed the corresponding button, to explore how science and technology provided by the media entities operating mode (keyboard / mouse), design situational challenge competitions and interactive games to enhance the value of extended learning fun. The study conducted to use questionnaire and teaching activities to do the experiment to obtain the results of the study. In addition, the experiment had investigated the operation of teaching materials by learners and their motivation in learning by means of observation and interview. The research findings are as follows: I. The content of the teaching materials motivated learners to learn how to operate the shadow play puppets. a. Easy operation of supplementary teaching materials. b. Picture analysis of motions and appreciation of interactive video helped learners understand and observe. c. The interaction among the characters offered a chance for learners to observe and help them understand. d. The content of shadow play teaching materials and the presentation of motions motivated learners to study further. e. The content of digital learning motivated learners to learn. II. IK integrated the methods and results of shadow play movements. a. Inverse Kinematics was used in the Puppet Shadow. b. Interactive video and computer operation could enhance learners’ motivation. c. The design of keyboard operation and adventure activity. III. The combination of puppet movement and computer-assisted instruction motivated learners. a. Hands-on experience b. Experience digital media c. Easy operation d. Computer-assisted instruction piqued students’ interest in learning It is hoped that the results of the study can be beneficial to the designers in the operation of IK and the teaching materials in traditional arts. Furthermore, computer-assisted instruction can benefit teachers and learners. The related operation and making can also motivate learners to use digital materials so that they can learn and have fun at the same time.
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呂堅華. "The Conservation of Handwritten Script《Lu-feng-yang Tie-qiu-shan》at the Shadow Puppet Museum of Kaohsiung County." Thesis, 2010. http://ndltd.ncl.edu.tw/handle/84788036582897584777.
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碩士國立臺南藝術大學
古物維護研究所
98
Shadowgraph is the Taiwan tradition of drama, although gradually has now declined but its traditional art value still to hold its important status. Is pursuing the fast culture of food constantly the modern society, the tradition performing arts has not conformed to the trend of the times also again touches the will of the people with difficulty, how but stands in the cultural worker's standpoint preserves these precious cultural properties, is the urgent matter is the essential mission. Compares says the skin cinema to other traditional kinds of drama to have its special place is its copies the script to preserve and by Tibet's quantity is considerable. Is in office in the kaohsiung County bureau more than ten years in the book reservation office work which is responsible, how regarding maintains and meets needs urgent processing the cultural relic common not to trace the clue puzzle, thus has the opportunity to study the correlation knowledge by in office identity to the Tainan art university antiques, now the time will study the contribution and social also the hope correlation place cultural building all can establish the integrity the book reservation to maintain the system and the method, will contribute the oneself strength for humanity's cultural property preservation diligently. Second, the research goal copies the script take the kaohsiung County government culture bureau shadowpuppet museum present stage《Lu-feng-yang Tie-qiu-shan》 as an example, in preserves in the situation which the equipment is insufficient, the frail script is easy to have the deterioration, also the script uses the tool for the performance time, in scene dirt and so on time performance sweat, saliva, smoking, is accelerates the script to get older destroys the medicinal preparation, therefore will grind in this article draws up the best preserved maintenance way, will provide in the future this museum correlation cultural relic preservation maintenance reference the best goal.
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Chen, Yen-Jung, and 陳彥蓉. "A Creation Design of Shadow Puppet Show Applied to Computer Animation Production: Example of "A Curse of Spirit" Animation Production." Thesis, 2010. http://ndltd.ncl.edu.tw/handle/00729297257948046636.
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碩士銘傳大學
設計創作研究所碩士班
98
The shadow puppet show is a special artistic style in performing arts. Today, computer animation merge shadow puppet show with high technology, it creates amazing result and play into the world successful. Let the shadow puppet show of traditional culture be combined with the science that popularize to the world, then show there are more possibility of the computer animation. This research will probe into those computer animations combine with shadow puppet show. To clean out play forms of computer animations simulate shadow puppet show and analyze which special points in every animation works. Besides, to analyze cinematic language and hope the animation will creates more different visual result than general stories. Expect the traditional performing arts will bring a new visual experience to audience by combine with modern technology. The animation was rewrite from “Lao-chai-chih-i”, there was a story named “Nie Xiao-Qian”. To use as a leaf and let audience can understand relationship of each role in a short time. This create design will show different shadow puppet modeling, moreover to collocate computer animation and rear projection to create a small theatre. To give a new style behind of shadow puppet show which no-one-playing and let audience feel more fresh and fun.