Goffman「戲劇論」應用於八家將臉譜之插畫創作

「三步一小廟，五步一大廟」是臺灣的日常風景，民眾的生活總與宮廟活動息息相關，而「八家將」文化，更是宗教科儀的重要代表之一。但近年來，取自「八家將」諧音的「8＋9」一詞在網路上成為流行，加上媒體的渲染，使「社會亂源」逐漸取代了此項傳統所象徵的正向意義，因而被誤解所纏身。
本研究從Goffman的「戲劇論」角度切入，由「臺後」（思想與設計構想）與「臺前」（呈現方式）兩大區塊，探討思想轉譯為插畫的過程，並與Saussure對於「語言符號」的觀點比較，探討其中異同；以宗教相關之插畫作品為樣本，投入本研究所設定之模組進行文本分析；最後，將結論應用於「八家將」之創作，以8位角色，共16幅平面插畫作品重新詮釋此一傳統文化意涵，後製成16件海報及16件明信片作品並展出。
藉此研究與創作結果，期望「戲劇論」的導入，除了能提供插畫創作者更具系統性的思考，亦能成為相關領域之圖文研究者；並依託圖像這樣「無聲的語言」，能將「祂們」的故事與形體，幻化為插畫進入大眾的視野，除了激起臺灣對本土文化的疼惜，亦能跨越國界，實現「越在地越國際」的期待。

“It only takes three steps to see a small temple, five steps to find a large one” is the daily routine in Taiwan, and the public’s life is closely related to the activities of temples. In addition, the culture of the “Ba-Jia-Jiang” is one of the important representatives of religious rituals. In recent years, the term “8+9” derived from the homonym of the Chinese pronunciation of the “Ba-Jia-Jiang” has become popular online. When it is coupled with media exaggeration, the “source of social chaos” has gradually replaced the positive meaning symbolized by the tradition of the “Ba-Jia-Jiang”, which thus has been plagued by misunderstandings.
From the perspective of Goffman’s dramaturgy, this study investigated the process of translating ideas into illustrations from two parts: “behind the stage” (thoughts and design concepts) and “before the stage” (presentation methods). Furthermore, this study compared the similarities and differences with Saussure’s perspective on linguistic symbols. This study used religion-related illustration works as samples and put them into the module set by this study for text analysis. Lastly, this study applied conclusions to the creation of the “Ba-Jia-Jiang”. This study reinterpreted this traditional cultural meaning with 8 characters and a total of 16 graphic illustrations, and then made 16 posters and 16 postcards for an exhibition.
It is expected that the introduction of this study and the creation results may provide illustration creators with more systematic thinking and encourage them to become graphic researchers in related fields. Moreover, it is also expected that the silent language of images may transform the stories and shapes of the “Ba-Jia-Jiang” into illustrations to enter the public’s field of vision. In addition to arousing love for the local culture in Taiwan, this culture may also cross national boundaries and fulfill the expectation of localization-based internationalization.