| Summary: | 碩士 === 中原大學 === 室內設計研究所 === 91 === The emergence of many museums in Taiwan was influenced by national cultural policy, as well as a global trend towards the conservation of cultural heritage. As many new museums were founded and heritage conservation got underway, the phenomenon of museumification also commenced. This research will first present an introduction to the history of museumification of cultural heritage in Taiwan, and analyze which factors influenced the process of museumification. In short, in which context and discourse cultural heritage became imbedded in the museum.
The main body of the historical introduction will discuss the process and context of museumification of the traditional opera, and the factors related to the historical development of traditional opera. This process started by the grand scale “folk theatre” festivals organized by the Council for Cultural Planning and Development, in order to promote the performance of traditional theatre. This was followed by the concept of the “Folk Performance Garden, a long-term policy to create a permanent performing space for traditional theatre and acrobatics. Traditional theatre was performed here in order to preserve its heritage and removed from its natural performance environment; this is the beginning of the process of museumification of the traditional performing art.
Later, the process of museumification gained momentum as in the 1990s the discourse changed from conservation of cultural heritage to the preservation of local culture at the grass-roots level. Many local administrative bodies reacted by actively creating symbols of local culture, and establishing many museums with a characteristic local content, such as the Taiwan Theatre Museum in Ilan; the Nan-Beiguan Music and Opera Meseum in Zhanghua and the Shadow Puppet Museum in Gaoxiong. On a non-governmental level there are also private initiatives to preserve cultural heritage, such as the TTT Puppet Centre in Taipei and the Li Tianlu Glove Puppet Theatre Hall.
Finally, we will analyze the exhibition space of these different institutions and see how they represent the essence of traditional theatre. Government institutions are planned by traditional theatre scholars aided by designers, their design concepts are based on the main discourse in their field of study. In private institutions more subjective and creative approach are applied in the representation of traditional theatre.
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