王嘉明：「透過這齣戲，我想表達的另一個重點，就是布袋戲的美。」

入圍理由 Reason for Nomination

四折古典《聊齋》傳統布袋戲，鑲嵌入一則現代「洗衣店有鬼」演出場景裡，人、鬼、衣、偶，交相隱喻，實幻穿越，既是人操演偶，又是人（導演）操演人，大敘事框架裡置入小敘事，大視覺景框內伸縮變出小舞台，加上「318學運」同步發生著卻被場上演員以遙視（影像）、倒述口氣說出，時間、空間、敘事均幻覺化，暗喻了政治幻象及歷史幽靈化，魅影敘事從一而終。此外，導演透過幻覺手法調動景框變化，讓觀眾自動伸縮觀視，不僅更加凝練掌中技藝之美，更解決掌中戲進入現代劇場的觀賞距離難題，於作品及劇種美學意義上備極難能可貴。 提名觀察人：紀慧玲

The four-act classic, Liaozhai (Strange Tales from a Chinese Studio), presented in traditional puppet theater was embedded in a modern dramatic scene of “ghosts in a laundry shop.” Humans, ghosts, clothing, and puppets became metaphors for one another, piecing together a realistic yet phantasmal, time-travelling play—a play that was presented by puppeteers manipulating puppets as well as a person (the director) manipulating other people, and with minor narratives within the main narrative, and small stages displayed within the large visual frame. In addition, the “March 18 Student Movement,” which was taking place at the time, was narrated in flashback by the performers as they remotely viewed the incident (in images). Time, space and narratives were all made illusions, signaling the political illusions and the spectrally rendered history; the phantasmagorical narrative was carried out through the play. Furthermore, through the illusory change of frames, the director allowed the possibility for the audience to automatically adjust their perspective, not only refining the beauty of hand puppetry, but also resolving the difficulty of viewing when puppet theater entered the modern theater. This is highly commendable in terms of the performance and the aesthetics of the genre. Nominator: CHI Hui-Ling