作為現代性或物質文明象徵的戲院，對臺灣而言可能是十九世紀末葉 才出現的新鮮舶來品。日治時代臺灣布袋戲開始發展的商業劇場，很多是藉 着廟口或茶園作為基礎，雖然也有仿造戲院的售票制度，乃至進入現代戲院 演出。戰後初期臺灣布袋戲商業劇場是否延續某些古老機制，還有發展出哪 些劇場特性，則是本文所要關注的。 戰後早期臺灣各地風起雲湧的布袋戲商業劇場，當然並非政府文化機關 補助或發起的，而是民眾自發的文化。這種劇場與酬神的祭祀劇場在表演上 有什麼差異？而專業布袋戲班如何與戲劇業者結合，如何發展出自負盈虧的 經營，甚至發展為一股能夠吸引龐大觀眾關注的焦點，甚至幾乎成為自發性 的戲劇競賽？本文首先將試着從民間藝人的角度，來思考劇團與戲院之間的 商業機制，藉着臺灣民間知識的「贌戲」作為切入點，來解讀商業劇場史料 背後的意義。其次，我們藉着布赫迪厄（Pierre Bourdieu）的社會學概念來思 考，布袋戲進入一種現代概念的戲院，進入這種特殊場域（champ）時，產生 什麼樣的資本？更重要的是，戲班是否意識到他們面對如此不一樣的場域， 必須採取有所區隔（distinction）的策略？這些都可說是我們重新解讀史料， 藉以瞭解臺灣劇場發展可能性，具有不可忽略的價值。

As a symbol of modernity or civilization, the foreign concept of a theatre house did not occur in Taiwan until the late nineteenth century. The commercial puppet theatre of the Japanese Colonial era started in temple courtyards and/or tea plantations. Some initiated a ticketing system following the example of a theatre house while others even staged their performances inside a modern theatre. It is the purpose of this study to determine if the commercial puppet theatre in post-war Taiwan had continued with certain old mechanism and developed certain theatrical characteristics. The flourishing commercial puppet theatre of post-war Taiwan was a spontaneous cultural phenomenon, not funded by any governmental cultural offices. How does it differ from the theatre accompanying the thanksgiving ritual? How did professional puppet theatre troupes merge with theatre entrepreneurs? How did they develop a self-financing management, becoming a spotlight with a huge audience, and creating a spontaneous competition among themselves? I will assume a folk artist’s perspective and consider the commercial mechanism between troupes and theatres. Using the folk knowledge of “pa' k-hì” to penetrate the meanings behind the historical data of commercial theatre, I will then employ the sociological concept of Pierre Bourdieu to investigate the symbolic capital puppet theatre generated once it entered the champ of modern theatre. Most important of all, did the troupes realize that they had to make certain distinctions in strategy when they encountered a different type of champ? These are invaluable questions when we reinterpret historical data to explore the possibilities of the develop ment of the history of the Taiwanese theatre.