以往研究布袋戲時，我們往往會採取固定的概念式區分來思索，長久累積下來很容易傾向將戲齣的各種類型視為理所當然的，幾乎是先驗的範疇。但是傳統／現代，或古冊戲／金剛戲等二元的區分觀念，可能限制了我們對於挪用或重組等創作實例的認知。透過以往看戲經驗的反省而發現，主演實際創作新戲時，未必會受到這些範疇觀念的束縛，相反地，他們長期舞臺經驗所累積的布袋戲表演的精彩段落，可能才是真正的創作靈感來源。 本文藉著李天祿的三齣南管籠底戲，及黃俊雄橫跨古冊戲與金剛戲的表演文本作為比較基礎，企圖指出這些表演的精彩片段，即口頭文學裡的典型場景，或彈性的創作單位，可能出現在同一位主演的不同戲齣。這些典型場景，無論是來自承傳表演系統，或舞臺上經年累月的表演經驗的結晶，不僅存在於古老的籠底戲或帶家齣，也可能在自行創作的新戲齣裡，重新以嶄新的面貌而令觀眾驚豔。透過比較分析，可以實證地瞭解臺灣民間藝人如何從經年累月的表演經驗裡鍛煉出典型場景，也可瞭解他們如何歷經傳統帶家齣的洗禮，而大步邁向自行杜撰的創新戲齣。

It has been said that Taiwanese puppet theatre could be considered two categories, traditional or modern, but that is not strictly true. To group those new style's puppet shows together merely as“modern＂is to oversimplify the nature of the performance in the oral tradition. The oral performance could be considered the soul of puppet show in Taiwan. I doubt that those puppeteers could follow not necessarily the modern category when they created their new work; on the contrary, they recompose the formula or type-scene through their long stage experience. This paper is intended as an investigation of type-scenes of puppet theatre in Taiwan. We will re-examine those old-styled performances of Li Tian-Lu and those two distinct styles of Huang Jun-Xiong, and discuss their type-scenes. I intend to argue those type-scenes, plastic compositional units in another word, could be represented in different pieces of a puppeteer. Either coming from the repetition of their stage experiences or from their ancient master, those type-scenes could be recomposed with a little different meaning in a new creation. With our analysis and comparison, we'll understand more clearly the oral nature of puppet theatre in Taiwan.