每當提到可台灣意象之表徵，布袋戲通常必為名單之一，而提到布袋戲自然必提到霹靂國際多媒體公司製作的霹靂系列布袋戲，長達三十年的霹靂史，塑造了諸多知名的角色，更成為諸多學者的研究內容(張瓊霙, 2006; 周宥廷, 2011; 李健宏, 2014)，本論文聚焦於較少人研究的角色－失能者(殘、缺、障者)，除蒐集其三十年來失能角色數量，更進一步發掘其間的社會現象、性別概念，以及此類角色可能的創作企圖。

As far as the image of Taiwan is mentioned, puppet shows are always on the list. Whenever hen puppet shows are talked, Pili series produced by the Pili Company should never be forgotten. Among the three decades of development of Pili puppet shows, many puppet characters are created, performed, thus studied by scholars (Chang, 2006; Chou, 2011; Li, 2014). This paper lays focus upon characters scarcely caught academic attention-the disable characters in Pili series. In addition to collecting the amount of these characters, we also aim at exploring the hidden social agenda, gender concept and even the designing intention.