反共抗俄劇流行的年代，大約從1950年代到1970年代。1980年代已遠離戰後初期的反共抗俄劇風潮，此時是臺灣解除戒嚴與逐漸走向開放的關鍵時刻。然而，在電視布袋戲卻出現濃厚反共色彩的戲劇。本文將以1982年12月臺灣電視公司首播的電視布袋戲《神劍魔刀六合魂》為例做深入探討。藉著這齣另類的反共抗俄劇，筆者企圖重新省思戒嚴時代古裝布袋戲的語意詮釋及多元創作。我們將借用結構語言學家雅科布森的語言符號理論，思考劇中人物赤蛾、茸達窩、矮仔鄧等所指涉的符號意涵，進而釐清這齣戲經由隱喻╱換喻程序所傳達的意涵。
　　另一方面，筆者將延續多年前對1950年代反共抗俄劇的研究，思考在戒嚴時代古裝布袋戲的多元創作來源及其詮釋，並重新界定反共抗俄劇的演變與影響。
　　透過上述的討論，本文所呈現的是政治對戲劇創作的深遠影響、創作者與執政者及國家政策間的關係，以及政治對電視布袋戲創作所造成的影響。

The anti-communism plays were popular from the 1950s to the 1970s. By the 1980s, Taiwanese government lifted the martial law and gradually moved towards a more democratic regime. The anti-communism plays that were popular during early post-war years had declined by now. However, the televised puppet theater of this time demonstrated strong anti-communism features. This article examines the puppet show “Sacred Sword Evil Blade and the Liuhe Soul” produced by Taiwan Television Company in December 1982. By exploring this alternative traditional-communist play, I intend to re-consider the semantics and diverse creativity of the ancient-costume puppet theater of the martial law
period. I will employ the linguistic theory of Roman Jacobson to explore the semantic significance of the characters Chhiah-ng, Jiông-tãt-o, and E-á Tëng, and proceed to reveal the meanings delivered after a metaphor/metonymy process.
On the other hand, I will continue my long-term research on the anti-
communist plays of the 1950s and examine the diverse creative resources
of the traditional-costume puppet theater of the martial law period as well as its interpretations. I seek to re-define the development and influences of the anti-communist plays.
With the discussion stated above, the article aspires to illustrate the profound influence politics has exerted on theatrical creation, including televised puppet shows and the relation between playwrights and the 電視布袋戲與政治：1980年代一齣另類的反共抗俄劇　189
ruling power.