Chen Hsi-huang, the eldest son of the puppet master Li Tian-lu. Li Tian-lu married into the Chen family in which he became the son-in-law. Under this situation, his eldest son was given the surname Chen. Being the son of the legendary puppet master and the special relationship between the father and the son led them to a mutual knot. In 2009, at the age of 79, Master Chen left the Li family and set up his own troupe, which soon earned recognition all over the world. Nevertheless, this traditional art declined rapidly and Chen found no one to pass on his great skills. Being a fan of puppetry, Director Yang Li-chou named his studio as “Back-stage” which means shooting documentary films just like the backstage of the puppetry is to assist human to reveal this world. The production of “Father” lasted for ten years. It not only recorded the inheritance mission of the eighty-year-old elders, but also explored the conflicts between the two generations. This film shows the master’s intelligent skills to give the poppet life in the big screen, trying to inject the unique charm of the traditional puppet show so as to bring it back to ordinary people.
陳錫煌，已故布袋戲大師æŽå¤©ç¥¿çš„é•·å。æŽå¤©ç¥¿å› 入贅陳家，長å按è¦å®šå¾—姓陳。父親巨人般的身影ã€ç•°å§“父å的特殊關係，為兩人種下難解心çµã€‚2009 年，高齡七åä¹æ²çš„陳錫煌離開家æ—庇è”，åªå¸¶è‘—ç´…ç›’å內供奉的戲神田都元帥，用自己的åå—å¦å‰µåŠ‡åœ˜ï¼Œæˆç‚ºæ·±ç²åœ‹å…§å¤–肯定的人間國寶。然而，傳統布袋戲的快速沒è½ï¼Œå»åˆè®“ä»–é¢è‡¨ç©ºæœ‰ä¸€èº«çµ•å¸ã€æ…·æ…¨æŽˆè—ä¸è—ç§ï¼Œå¯æ˜¯å¾Œç¹¼è€…寥寥å¯æ•¸çš„困境。楊力州愛看布袋戲，工作室å–åã€Œå¾Œå ´ã€ï¼Œæ„指æ‹ç´€éŒ„片一如為布袋戲敲鑼打鼓的樂陣，是在陪襯é¡é 裡的精彩人生。《紅盒å》製作æ·æ™‚å年，ä¸åªç´€éŒ„八旬長者的傳承使命ã€æŽ¢ç©¶å…©ä»£åœ‹å¯¶é–“的矛盾，更以大銀幕展ç¾è€å¸«å‚…為戲å¶æ³¨å…¥éˆé‚的掌ä¸æŠ€è—，ä¼åœ–將傳統布袋戲的ç¨ç‰¹é…力，é‡æ–°å¸¶å›žå¸¸æ°‘生活。
Read more... Organized by Ottawa Asian Heritage Month Society and Presmted by Taipei Economic and Cultural Office in Canada
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