布袋戲的演出可分為前場與後場。前場就是戲台部分，觀眾可以看 戲偶在戲台上表演，後場包括了操偶師，樂 團和口白師 傅等。

布 袋戲演出時的戲台，一方面做為區隔前 後台以及觀眾與演出者之間的功能，一方面也提供了演出時所需要的戲劇布景。布袋戲發展之初，戲台較為簡陋，僅用扁擔，布簾架起的簡易戲台。後來布袋戲漸受歡迎，戲台也變得較為複雜，誕生了早期的四角棚。四角棚是三至五公尺寬的戲棚，其構造類似於一座小型的土地公廟，有四根柱子，中間是大廳，為戲偶活動的舞台，其四面之中，三面皆空，大廳中有一層交 關屏，用來遮掩 操偶師之用。早期的四角棚的裝飾及雕刻較為簡單，但後期逐漸得更為複雜與精 緻，也配合了木雕技術以及中國傳統建 築的風格。

19 世紀，布袋戲發展出六角棚戲台，又稱作彩樓， 其在舞台的左右前方各加一個斜面，吸引左右兩側的觀眾，此種六 角形舞台設計，戲台場寬雖未大幅度增加，但卻能使得戲台空間及視 覺效果上更加豐富。這種改良的“六角棚”的布袋戲舞台，不但將頂蓬加大，同時也加強了如：垂花飛簷及窗櫺等外加飾物，使得整個戲臺顯得更氣派與精緻。因為色彩鮮豔，所以有了“彩樓”的名稱。後來，更加強了頂蓬、底座以及龍 柱三個部分。彩樓式戲台，雖然能吸引觀眾且本身即為雕刻的藝術品，但造價昂貴且搬運不易，因此不是所有的戲班都能夠負擔得起，所以在台灣於1930年代後，出現了一種看板式的彩繪戲棚。這類戲台的 裝飾圖案全數以平面彩繪的 方式製作，其造價便宜也易於搬運，且 舞臺效果並不輸給傳統的戲台。

布袋戏的演出可分为前场与后场。前场就是戏台部分，观众可以看戏偶 在戏台上表演，后场包括了操偶师，乐团和口白师傅等。

布袋戏演出时的戏台，一方面做为区隔前 后台以及观众与演出者之间的功能，一方面也提供了演出时所需要的戏剧布景。布袋戏发展之初，戏台较为简陋，仅用扁担，布廉架起的简易戏台。后来布袋戏渐受欢迎，戏台也变得较为复杂，诞生了早期的四角棚。四角棚是三至五公尺宽的戏棚，其构造类似于一座小型的土地公庙，有四根柱子，中间是大厅，为戏偶活动的舞台，其四面之中，三面皆空，大厅中有一层交 关屏，用来遮掩 操偶师之用。早期的四角棚的装饰及雕刻较为简单，但后期逐渐得更为复杂与精 致，也配合了木雕技术以及中国传统建 筑的风格。

19 世纪，布袋戏发展出六角棚戏台，又称作彩 楼， 其在舞台的左右前方各加一个斜面，吸引左右两侧的观众，此种六角形舞台设计，戏台场宽虽未大幅度增加，但却能使得戏台空间及视 觉效 果上更加丰富。这种改良的“六角棚”的布袋戏舞台，不但将顶蓬加大，同时也加强了如：垂 花 飞檐及窗棂等外加饰物，使得整个戏台显得更气派与 精致。因为色彩鲜艳，所以有了“彩楼”的名称。后来，更加强了顶蓬、底座以及龙柱三个部分。彩楼式戏台，虽然能吸引观众且本身即为雕刻的艺术品，但造价昂贵且搬运不易，因此不是所有的戏班都能够负担得起，所以在台湾 于1930年代后，出现了一种看板式 的彩绘戏棚。这类戏台的 装饰图案全 数以平面彩绘的 方式制作，其造价便宜也易于搬运，且 舞台效果并不输给传统的戏台。

Bùdàixì de yǎnchū kě fēnwéi qiánchǎng yǔ hòuchǎng. Qiánchǎng jiùshì xìtái bùfèn, guānzhòng kěyǐ kàn xì’ǒu zài xìtái shàng biǎoyǎn, hòuchǎng bāokuò le cāo’ǒu shī, yuètuán hé kǒubái shīfù děng.

Bùdàixì yǎnchū shí de xìtái, yì fāngmiàn zuòwéi qūgé qiánhòutái yǐjí guānzhòng yǔ yǎnchūzhě zhījiān de gōngnéng, yì fāngmiàn yě tígōngle yǎnchū shí suǒ xūyào de xìjù bùjǐng. Bùdàixì fāzhǎn zhīchū, xìtái jiàowéi jiǎnlòu, jǐn yòng biǎndan, bùlián jiàqǐ de jiǎnyì xìtái. Hòulái bùdàixì jiànshòu huānyíng, xìtái yě biànde jiàowéi fùzá, dànshēngle zǎoqí de sìjiǎopéng. Sìjiǎopéng shì sān zhì wǔ gōngchǐ kuān de xìpéng, qí gòuzào lèisìyú yízuò xiǎoxíng de tǔdìgōng miào, yǒu sìgēn zhùzi, zhōngjiān shì dàtīng, wéi xì’ǒu huódòng de wǔtái, qí sìmiàn zhīzhōng, sānmiàn jiēkōng, dàtīngzhōng yǒu yìcéng jiāoguānpíng, yònglái zhēyǎn cāo’ǒushī zhīyòng. Zǎoqí de sìjiǎopéng de zhuāngshì jí diāokè jiàowéi jiǎndān, dàn hòuqí zhújiàn fāzhǎn de gèngwèi fùzá yǔ jīngzhì, yě pèihéle mùdiāo jìshù yǐjí zhōngguó chuántǒng jiànzhú de fēnggé.

19 shìjì, bùdàixì fāzhǎnchū liùjiǎopéng xìtái, yòu chēngzuò cǎilóu, qí zài wǔtái de zuǒyòu qiánfāng gè jiā yíge xiémiàn, xīyǐn zuǒyòu liǎngcè de guānzhòng, cǐzhǒng liùjiǎoxíng wǔtái shèjì, xìtái chǎngkuān suī wèi dà fúdù zēngjiā, dàn què néng shǐdé xìtái kōngjiān jí shìjué xiàoguǒ shàng gèngjiā fēngfù. Zhèzhǒng gǎiliáng de “liùjiǎopéng” de bùdàixì wǔtái, búdàn jiāng dǐngpéng jiādà, tóngshí yě jiāqiáng le rú: Chuíhuā fēiyán jí chuānglíng děng wàijiā shìwù, shǐdé zhěnggè xìtái xiǎnde gèngjiā qìpài yǔ jīngzhì. Yīnwèi sècǎi xiānyàn, suǒyǐ yǒule `cǎilóu de míngchēng. Hòulái, gèngjiāqiáng le dǐngpéng, dǐzuò yǐjí lóngzhù sānge bùfèn. Cǎilóu shì xìtái, suīrán néng xīyǐn guānzhòng qiě běnshēn jí wèi diāokè de yìshùpǐn, dàn zàojià ángguì qiě bānyùn búyì, yīncǐ búshì suǒyǒu de xìbān dōunéng fùdāndeqǐ, suǒyǐ zài táiwān yú 1930 niándài hòu, chūxiànle yìzhǒng kànbǎnshì de cǎihuì xìpéng. Zhèlèi xìtái de zhuāngshì tú'àn quánshù yǐ píngmiàn cǎihuì de fāngshì zhìzuò, qí zàojià piányí yě yìyú bānyùn, érqiě qí wǔtái xiàoguǒ bìng bù shūgěi chuántǒng de xìtái.

A glove puppetry performance can be differentiated between the front and back stage. The front stage is the actual stage, where the audience can see the show. The backstage refers to the puppeteers, musicians, and narrating masters, etc.

A stage is required for any kind of performance, providing the separation between the audience and the performers, and providing a backdrop for the show. During early days of glove puppetry, the stage is very simple, using a stick to hold up a piece of cloth. As glove puppetry grew in popularity, the stage got more elaborate, giving birth to the sijiao peng. The sijiao peng is usually three to give meters wide, modeled to look like a small local earth deity temple. There are four main columns and empty space the middle, where the puppets will perform. Three of the four walls are empty, and there is a screen in the middle, hiding the puppeteers. Over time, the simple decoration and carvings on sijiao peng started to be made with traditional Chinese carving and architectural techniques, resulting in some complicated stages.

In the 19th century, liujiao peng or cailou was invented and started to be used in glove puppetry shows. The liujiao peng has an extended screen on either side of the stage, drawing the attention of the audience to the stage. This design gives the illusion that the stage space is larger and increasing the visual effect. There are more changes made to the liujiao peng. These changes include increasing the size of the canopy, adding the decorations like cornice decorated with flowers , and window lattice. Overall the changes made the stage more atmospheric and detailed. And due to the new additions of vibrant colors, liujiao peng is also called "cailou". Sometimes the stages are so impressive, that it attracts people just to admire the stages. These complex and pretty stages, however, are very expensive and hard to transport, thus giving rise to a billboard style stage in 1930s Taiwan. The stage is made of printed panels, which is cheap to produce, easy to transport, while being able to reproduce an atmosphere that is comparable to traditional stage.