传说明朝时期，有位屡试不中的秀才梁炳麟，在福建仙游县九鲤湖一座仙公庙祈求高中后，做了一个梦，一位老人在他手上写下“功名归掌上”后离去。梁秀才醒后非常高兴，认为是及第的吉兆，不料当次应试又名落孙山。失落之余，他开始向邻居学习悬丝傀儡戏，并发展出直接套在手中的人偶，凭着他的文学修养，出口成章，又能引用各种稗官野史，马上吸引了许多人来看他的表演，布袋戏从当地开始风行起来，梁秀才的名声也跟着水涨船高，（Liang created puppets that could be worn on the hand of the performer. His literary background allowed him to be eloquent and knowledgeable about all types of folk tales. His performances soon attracted a big audience. His puppet show began to gain local popularity and Liang rose to fame.）此时他才领悟了“功名归掌上”这句话的意涵。

图一 布袋戏的传说

在傀儡戏的影响下，泉州布袋戏诞生了，并且进一步传播到了漳州和台湾。泉州被公认为布袋戏的发源地，然而在历史发展的过程中逐步与漳州和台湾等地的布偶艺术区别开来。以泉州为代表的南派布袋戏更加侧重于梨园风格和细腻文雅，而以漳州为代表的北派布袋戏更加注重武戏和京剧做派，台湾则是通过创新与融合，走出了更为独特的道路。(The Quanzhou style, which embodies the southern tradition, has more southern liyuan operatic elegance, while the Zhangzhou style, which represents the northern tradition, lays more emphasis on the martial arts acts and has more Peking operatic elements. In Taiwan, Glove Puppetry also evolved through innovation and integration.）

泉州布袋戏起源于傀儡戏，结合了当地风土人情后，逐渐发展变化而形成一种具有地方特色的戏曲表演。1730年至1760年左右，泉州布袋戏的主要元素仍与傀儡戏高度相似，但已演变为规范的剧本体系，这被视为泉州布袋戏萌芽诞生的标志。（It had already developed a system of script writing, which is regarded as a sign of the birth of Quanzhou Glove Puppetry.）

而后，泉州布袋戏逐渐发展壮大为南派布袋戏，在19世纪达到全盛。在随后的发展过程中，产生了鲜明特色，擅长文戏、讲究细致偶头与身段，并以泉州闽南语口白演出。（In the process, Quanzhou Glove Puppetry developed distinctive characteristics, including emphasis on wenxi or “civil” pieces, which are characterized by singing, elaborately-made puppet heads and figures, and the use of Quanzhou Hokkien.）

然而，在20世纪，由于剧本无法深入民间，以及演出环境所限，发展受到了严重打击，泉州布袋戏一度面临巨大的传承挑战。2006年，泉州布袋戏申报成为福建省省级文化遗产，借此得到保护与重视，从而进一步传承发展。（In 2006, Quanzhou Glove Puppetry was recognized as a cultural heritage by Fujian Province, and since then it has been better protected and further developed.）

图二 泉州布袋戏的发展 

金光布袋戏的发展是布袋戏流行化、年轻化的重要推动力。（“Gold Light Puppetry” is a major source of the popularity of Glove Puppetry among the young generation.）

1950年左右，金光布袋戏诞生于台湾，与传统布袋戏不同的是，创作者们开始在武侠内容基础上新创剧情及角色。“金光”一名则来源于其采用华丽的布景、金光闪闪的戏服，并以灯光或其他特效来增加武打的效果。（The name “Gold Light” comes from the gorgeousness of the set design, dazzling costumes, lighting and other special effects that make martial arts scenes more impressive.）在音乐方面，不少剧团摒弃了贯通的后台音乐，改以唱片进行辅助。

图三 金光布袋戏角色代表

针对于产业化进程，功劳则要归结于声光电的运用。1970年，黄俊雄率领的真五洲剧团将本来于戏院上映的内台戏《云洲大儒侠》首度于台湾的电视台演出。因其音乐新颖，口白典雅，加上剧情紧凑与声光效果惊人，在后四年内连演583集。（The refreshing music, elegant lines, intense plots and exciting sound and light effects—all contributed to its remarkable run for 583 episodes in the next four years.）电视布袋戏时期，是现代布袋戏影响台湾最深的阶段，甚至剧中的许多人物至今仍影响台湾民众的生活习惯。

进入21世纪后，产业化进程更是进一步发展。90后与00后将Cosplay这一新颖元素引入了布袋戏。而布袋戏也以社会团体或者学校社团的方式进一步融入大众的生活，在当下网络时代获得了更多的生机与活力。（The post-90s and post-00s generations have introduced cosplay into the genre of Glove Puppetry. Through social groups and school clubs, the art form has been further integrated into people’s life, and has gained more vigor and vitality in the Internet Age.）

创立至今，布袋戏的发展历经曲折，有时代大环境的束缚，有市场需求的萎缩，也有后继无人的压力。然而一路走来，布袋戏都以开放包容的心态，不断从其他优秀艺术中汲取营养，在表演内容和形式上大胆创新，紧跟时代潮流，吸引更多观众，尤其是青年群体；同时挖掘新兴的传播渠道，开拓市场，以便更快更好地走进大众的生活。（With an open and inclusive attitude, those who are devoted to the art form are drawing nourishment from other arts to make bold innovations in terms of both the content and the form of Glove Puppetry, so as to keep up with the trend of the times and attract more audiences, especially a young one. At the same time, they are exploring new ways of expanding the market to better promote the art.）

就这样，布袋戏一次又一次的突破了发展瓶颈，成为了闽南地区非遗文化的一颗闪亮“珍珠”，享誉海内外。（Glove puppetry artists keep making breakthroughs, turning the art form into one of the star intangible cultural heritages in the region, and have made it known both at home and abroad.）