本文希望粗略展示台灣布袋戲上場詩的面貌和特點，從文學和語言兩個方面對其進行理論研討，從上場詩的演變過程中總結規律和傳統，為布袋戲上場詩研究提供一份有益的參考資料，也爲布袋戲上場詩的創作研擬一份參考建議。本文力求將傳統布袋戲、金光布袋戲、霹靂布袋戲的上場詩作一比較、研究。 本文共分九章，第一章首先介紹本文的研究動機、研究方法以及相關資料來源。第二章除了對布袋戲現有的研究現況及資料作簡單的概述外，也對戲曲上場詩部分的研究資料作一些簡單的整理。第三章則參考了陳龍廷先生等人的說法，對布袋戲及布袋戲上場的起源與發展作介紹。第四章先介紹了戲曲的上場詩，接著在將戲曲上場詩與布袋戲上場詩在內容、源流、功能上作比較。第五章重點在於布袋戲上場詩的語言分析，分別對上場詩的語音、語法、語義甚至於語用學的觀點來對古今布袋戲作整理研究。第六章是文學分析，對古今布袋戲的人物性格、意境、藝術形象作一比較。第七章則是雅俗共賞問題，本章由布袋戲上場詩的方言性質歸納出上場詩的生命力在於民間色彩。第八章由布袋戲上場的隨機化和程式化的問題探討古今布袋戲的演變對上場詩產生了什麼樣的影響。最後，第九章則總述了布袋戲上場詩的未來展望及肯定了布袋戲對傳統文化的價值。 This thesis is aimed to investigate the prolog of each character in Taiwanese hand puppet show. The research is focus on the three main stream puppet show in Taiwan: traditional hand puppet show, Jin-guang hand puppet show and Pili hand puppet show. The researcher summarizes the development of these prologs and provides some suggestions for creating new prologs. There are nine chapters in the thesis. Chapter one is the motivation, methodology and resources. In Chapter two, the research briefly introduces the present situation of Taiwanese hand puppet show. The origin and the development of Taiwanese puppet show are described in Chapter three. In Chapter Four, the content, origin and function of the prologs are introduced. Chapter Five is about the phonetics, syntax and semantics in Taiwanese hand puppet show. In Chapter Six, the research analyzes and compares the characters, image and art of the traditional and present hand puppet show. Chapter Seven is about the dialect of the prologs. In Chapter Eight, the influence of the transformation of Taiwanese puppet show on the prologs is described. Finally, the researcher talks about the future development and the valuation of Taiwanese hand puppet show.
