「布袋戲」起源雖不在本地，但經過不同世代的演變，早已落地生根，成為道地本土藝術；不但沒有被淘汰，反而成為代表臺灣風格的表演，極具本土文化象徵性。本研究以「傳統旦角」及「絕情書」兩尊戲偶為例，旨在比較戲中的女性角色因時代變遷所形成的造形差異，為達到此目的本文應用「文獻探討法」、「田野調查法」與「比較分析法」方法，探討台灣兩個世代不同時期的戲偶變化，來看台灣布袋戲旦角的發展與創新。研究摘述如下：一、「創作者理念」、「製作技術、工法」、「材料使用」與「戲偶角色的背景身分更加多元」此四項因素對戲偶成品的完成、樣式、精細程度、耐用性等，都會帶來不同的影響。二、實體外貌方面，「偶頭」及「偶身」兩部分的大小、比例、臉型，是造成傳統與現代女性戲偶視覺差異最大的因素。布袋戲呈現的是多元民間生活型態的縮影，其造形變革與製作時代、演出時的社會風氣都息息相關。

"Puppet" origin though not locally, but after the evolution of different generations, had taken root and become authentic native art, has not been eliminated, has become the most representative of Taiwanese-style performance, highly symbolic of local culture. In this study, "traditional female roles" and "absolutely love" two puppets, for example, application "of literature"、"field research" and "Comparative Law", which approach to explore the drama of two generations even changes in different periods, see the Taiwan puppet female roles Development and Innovation.In this paper, the researchers from the literature and the puppet masters of the interview, the role of women in Taiwan style puppet made the following conclusions: 1. "concept creator", "production technology, engineering,", "material use" and "More diverse the background of the puppet role of identity", these four factors on the completion of the finished puppets, style, sophistication, durability, etc., will bring different effects.2. In physical appearance, the "dual head" and "dual identity" of two parts of the size, proportion, shape of face, is the result of traditional and contemporary visual differences between female puppet the biggest factor.Puppet show is a microcosm of diverse forms of civil life, their shape changes and production times, the performances of the society are related.