| 功名歸掌上--李天祿與傳統布袋戲 |
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| 中文版 英文版 觀看所有照片 |
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| 李天祿的泉州布偶，雕工細緻、衣飾精美，有將近二百年的歷史。 |
| Li Tian-lu's Chuanchou puppets, intricately carved and beautifully costumed, are almost 200 years old. |
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| 李天祿在彩樓邊指導班任旅演出。 |
| Li Tian-lu stands beside the stage directing a student. |
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| 來自美國的穆小珠已經能熟練地操縱布偶了。 |
| Margret Moody from the U.S. is very involved in Pu Tai Hsi. |
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| 李天祿說：布偶和人一樣，也要坐有坐相、走有走相。 |
| Li Tian-lu says puppets are like people, there is a way they should walk and a way they should sit. |
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| 李天祿在法國講習時，與學生們合影。 |
| A picture of Li Tian-lu and his students taken during a lecture tour of France. |
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| 李天祿在北投寓所教課的情形。 |
| Li Tian-lu teaching in Peitou |
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| 這對老夫婦看得多麼入神。 |
| This old couple is entranced by a performance. |
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| 彩樓背後的戲棚是孩童攀爬窺探的神秘世界。 |
| The backstage activities are a mysterious world for this youngster. |
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| 演師是布偶的靈魂，他隨著布偶的演出，時喜時怒，渾然忘我。這是小西園許王的演出情形，他也是李天祿的學生之一。 |
| The puppeteer is the puppets' soul; he loses himself in their sorrows and joys. This is one of Li Tian-lu's students performing with the Hsiao Hsi Jan troupe . |
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| 傳統彩樓雕工昂貴，保存不易，如今多已改用彩色佈景舞台。 |
| It is not easy to preserve the traditional carved stages, so modern troupes just use painted board. |
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| 本省製造的新式布偶，比起古老的泉州布偶，確是粗俗多了。 |
| A modern puppet made in Taiwan cannot even be compared with the workmanship put into a traditional puppet. |
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| 李天祿的小孫兒最愛玩阿公的布偶，演起來也煞有其事。 |
| Li Tian-lu's grandson enjoys playing with the puppets. |
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| 泉州的八寸老布偶，現在大多被博物館或私人收藏家珍藏，已絕少在舞台上亮相。 |
| An eight-inch Chuanchou puppet. Most original puppets are now in museums or private collections and it is a rare opportunity to see them on stage. |
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| 泉州的八寸老布偶，現在大多被博物館或私人收藏家珍藏，已絕少在舞台上亮相。 |
| An eight-inch Chuanchou puppet. Most original puppets are now in museums or private collections and it is a rare opportunity to see them on stage. |
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| 戴文琛在巴黎看到李天祿的演出後，就追來台北拜師，現在已能表演對打了。 |
| After seeing Li Tian-lu perform in France Vincent Durand-Dastes followed him back to Taiwan and can already make the puppets fight. |
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