本研究目的主要是探討金門地區傳統民俗技藝「傀儡戲」的傳承與發展，以訪談法針對金門現今據有傳承脈絡的戲班與演出時機逐一做口述歷史。結果得知金門傀儡戲活動時期可推估至清朝中葉，然而實際發展年代應為清末民初，傳承方式為師傅一個傳一個，並且以重覆「口傳」方式教授，旁聽是學不來，故無紙本流傳。戲班班主兼具演師、道士與法師多重身分，傳承脈絡上有師承張好的金良興、林掽龍門下的金國興，尤以金良興戲班最具領導力；在地風俗衍生下，金門傀儡戲的演出時機有拜天公、結婚、奠安、剖瓜之禮和普渡等，尤以正月初九的拜天公與結婚還願為整年度之重頭戲。研究結果亦發現戲金不固定、出路狹隘、戲碼變少、不能精益求精，是造成金門傀儡戲發展停滯主因，面對現今科技發達的時代，追求更完美的生活，忘卻傳統文化，金門傀儡戲的發展與價值性，僅剩宗教慶典、結婚還願、拜天公與學術研究。

The research explores the inheritance and developments of hand puppetry in Kinmen. Interviewing is adopted to conduct the whole research. We interviewed the targets to find out the inheritance context and summarize the developments of hand puppetry.The research found that origin of Kinmen hand puppetry dated back to mid Ching Dynasty. The skills and knowledge of hand puppetry are passed on by instructing orally. The main obstacles hinder the developments of hand puppetry are low pay, lack of career development, less improvements in performing. The traditional culture has been gradually forgotten in high-technology era.