跨越境界的雷鳴：從《Thunderbolt Fantasy東離劍遊紀》談臺日共同創作的實踐

Abstract

布袋戲雖然是起源於中國的民俗藝術，但在臺灣落地生根之後也發展出獨特的文化景觀，其中由黃家的虎尾五洲派布袋戲發展而來的霹靂布袋戲，高度商業化的取向和長年的電視劇集，更使其成為極具特色的一派。在追求更大市場的過程中，霹靂的作品有意識使用日本元素或是學習其動漫文化的模式，近年的《Thunderbolt Fantasy東離劍遊紀》系列更是重要的里程碑，以日本作家虛淵玄（通常寫動畫、遊戲等作品的腳本）為首，和日本的業者共同製作以日本觀眾為主要客群的布袋戲影視作品。 讓日本業者進入腳本、設計等核心層次的工作，意味著霹靂願意放棄以往，自己包辦製作鍊所有層面的模式，從根本改變，創造出日本觀眾真正想要的作品。然而，這樣的過程也不是一昧地討好異國文化，日本製作者在合作過程中也必須配合布袋戲的藝術特色作改變。雙方必須理解了對方的困難與特色，並用作品將布袋戲的魅力傳達給日本觀眾。本文希望從作品本身觀察是臺日文化之間是如何互動的，電視布袋戲的表演形式是否能作為不同文化間的溝通平台，連結並創造出新型態的作品。本文擬從文本、影像、聲音等要素切入，論述其表演特色和敘事策略，為此計畫的發展畫下註腳。

Although palmar drama origins from China, this folk art has developed its unique culture in Taiwan. Pili Palmar Drama (霹靂布袋戲), developed from Wuzhou Potehi (五洲布袋戲) of the Huangs in Huwei (虎尾的黃家), particularly differs from other artists for their highly commercial and long-termed TV show series. During this process, Pili consciously and continually uses Japanese cultural images and anime elements in its works. In this practice, Thunderbolt Fantasy Project from 2016 is especially remarkable. In this project, Pili works with Japanese playwright Urobuchi Gen (虛淵玄) and other Japan workers making on palmar drama TV series and films which mainly focuses on the market in Japan. Before this project, Pili was always responsible for all aspects of the production chain of its own TV shows or other works. However, in Thunderbolt Fantasy Project, Pili let the collaborators work on core aspects such as script and design, to create works that Japanese customers really want. It showed Pili’s determination to have fundamentally changes, but it was never just Taiwanese try to catering to Japanese culture. To successfully introduce palmar drama to Japan, Japanese workers also needed to adjust to Taiwanese palmar drama and its aesthetics. This essay will observe whether the palmar drama TV series could be the interface between different cultures, and how they worked with each other. Focusing on the works they have made, I will discuss about textual, visual and vocal elements in the TV shows and the films, and analyze their performative and narrative strategy, to understand what the project has achieved and its potential as an intercultural and long-termed project.