偶戲一向是引人入勝也廣受歡迎的表演藝術，最能夠勾起觀眾回憶起小時候，手上套個手帕便能演出史豔文大戰藏鏡人、或將洋娃娃當做自己的小孩般細心地照顧，由於這般情感的投射，觀眾更容易對「玩偶」的表演產生共鳴。偶戲常被運用為藝術創作的題材，在芭蕾藝術中以偶戲為題的也不少，其中最具代表性的是《柯碧莉亞》（Coppelia,1870）、《胡桃鉗》（The
Nutcracker, 1892）和《彼得羅契科》（Petrushka, 1911）。
本文針對舞劇中「偶」的舞蹈表現方式和特色作深入的探討，筆者分析編舞者將「偶」這個角色的精髓加以誇張化，使一個原先不具生命的物體，轉化為一個活靈活現的角色。在研究過程中筆者發現，芭蕾中表現偶戲的部分，除了肢體動作有其特殊的設計，也因創作年代的不同，而有不同的表現方式。這些分析和發現，期能作為舞蹈界學術研究之參考。

The puppet show has always been a very fascinating and popular performance to the audiences, and it also arouses the most memory from the audience’s childhood experiences, like covering their hands with handkerchief playing as 史艷文 (Taiwanese puppet hero) battling with enemy, or disguising the dolls as their babies to look after them and feed them and tuck them in the blankets, because of the reflection of all of these emotion, audiences have the same feeling deep inside their heart to the performance.
Puppet has been often used as the material in variety of the artistic creations. There are quite a lot of puppets used for ballet choreography as the theme. The most representative creations are Coppelia1870, The Nutcracker 1892 and Petrushka 1911.
This article has been made in depth study for the style of dancing performance and the features for the puppet show. In further, author also analyzed individually that the role of puppet designed by choreographer who featured the way puppet performed and exaggerated the essentiality of the role of puppet dramatically, and made the puppet which was an object only turning into a lively character.
During my research I have found that the puppet could be presented in different ways when it was created in different period of time. My analysis and discovery, hopefully, can be referable for the academic research by dancers and choreographers.