完整後設資料紀錄
DC 欄位 | 值 | 語言 |
---|---|---|
dc.contributor.author | 張德仁 | en_US |
dc.contributor.author | Te-Jen, Chang | en_US |
dc.contributor.author | 張恬君 | en_US |
dc.contributor.author | Tien-Chun, Chang | en_US |
dc.date.accessioned | 2014-12-12T01:20:02Z | - |
dc.date.available | 2014-12-12T01:20:02Z | - |
dc.date.issued | 2004 | en_US |
dc.identifier.uri | http://140.113.39.130/cdrfb3/record/nctu/#GT009042506 | en_US |
dc.identifier.uri | http://hdl.handle.net/11536/39757 | - |
dc.description.abstract | 早在民國建立之前,布袋戲文化就已經隨著先民進駐到台灣了,隨著時間的流逝,布袋戲在不同時期裡以不同的面貌呈現在舞台上,伴隨著每個台灣人度過不一樣的生活。布袋戲的發展與看戲的觀眾一樣,本身就如同戲台上演出的故事劇情,有著起起落落,興衰勝敗的時候。而這項迷人的傳統藝術文化在面對時間無情的考驗下,應該如何找尋出精髓所在,並因應融合入當前環境。傳統與科技之間確實存在著鴻溝,但是構築兩者間的溝通橋樑則一直是藝術工作者與科技從業人員努力的課題。 本研究創作主旨在於以不同於傳統的方式傳達布袋戲文化。研究進程是藉由文獻彙整,以了解布袋戲的發展歷史、原創由來,再分析現況,針對歸納出的問題點再尋求合適的媒材輔助演出,或另闢其他可能的新平台體系。創作上以數位手套為虛擬戲偶的操控介面作為概念;視現況修定以網頁作為最後呈現方式。 一個戲劇的演變與形成並非一夜之間造成的。新戲劇形式出現後,並不代表舊形式戲劇的終止,而是可以並存的;新的展演方式也未必將會取代原有的形式,各有各的發展空間;亦或有可能是以結合演出的方式再創新機。在藝術流派的歷史區分上是如此,在文明的演化推進上也是如此。 | zh_TW |
dc.description.abstract | In the early time, the puppet-show culture was circulated into Taiwan before the R.O.C has been established. As time goes by, the puppet-show was performed in various performances on stage in each different era, and enriches all Taiwanese lives. Like the developments of the audiences, it constantly rises and declines as the scenarios. We must find out the spirit of the puppet-show, our charming traditional art, and shape it to fit the nowadays-fantastic technical development and the flourishing commercial culture era. To mediate the chasm of different fields is always the goal that the contemporary artists and technicians try to achieve. The purpose of this study creation is displaying the puppet-show culture differ from the traditional ways. The progress was filing the relating data to understand the developing background, and original core-spirit, and then analyzing. According analyzed data, conclude the key problems and figure out the proper mediators to assisting its display or creating a brand new present form. This creation was concept on controlling the virtual characters via the data gloves, and the final was amended to present on web site. To form or convert a drama style could not be set in a single day, and the new one may not replace the old one, neither ends the further. They could exist coincident on their own stages or cooperating to establish an extreme new form. Truly, not only the evolutions of art branches follow the discipline, but also the improvements of the civilization behavior in this way. | en_US |
dc.language.iso | zh_TW | en_US |
dc.subject | 布袋戲 | zh_TW |
dc.subject | 虛擬角色 | zh_TW |
dc.subject | 數位手套 | zh_TW |
dc.subject | puppet show | en_US |
dc.subject | virtual character | en_US |
dc.subject | data glove | en_US |
dc.title | 3D虛擬角色於傳統戲偶演出形式應用之研究創作 | zh_TW |
dc.title | A Study of Integrating 3D virtual characters into the performance of the traditional puppet show | en_US |
dc.type | Thesis | en_US |
dc.contributor.department | 應用藝術研究所 | zh_TW |
顯示於類別: | 畢業論文 |
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