客家戲曲從民間戲曲，到進入官方正規教育體制，教學劇目可略分為「小戲」與「大戲」兩大類。其中，三腳採茶小戲是傳承客家採茶戲曲表演技藝的重要基礎。本研究以苗栗榮興客家採茶劇團的「張三郎賣茶」十大齣，對照國立臺灣戲曲學院客家戲學系年度製作《兄弟賣茶》一劇，從表演形式以及劇本分析為討論對象，探討戲曲文本改編與傳統民間流傳不同異文的異同和特殊之處。 本研究共分五章節，第一章「緒論」，說明客家三腳採茶戲的表演形式，以及本文研究動機，並探討客家傳統戲曲在臺灣的活動現象。第二章「文本研究之劇本比對」，以「張三郎賣茶」十大齣劇本為主要分析對象，從瞭解劇目故事架構，以及從劇中唱念詞句的分析比較等方面，看兩個版本的差異。第三章「表演形式技巧與說明」，以「張三郎賣茶」十大齣對照《兄弟賣茶》，以表演技藝切入比較。第四章「文本的傳統與新排」，則是運用筆者在劇校所學，試著探討原劇及改編版本的表演編排，看兩者於舞台實踐上不同之處。第五章「結論」，從身為傳統戲曲學習者，以及專業戲曲表演者的角色，以文學角度切入探討、思考，傳統戲曲題材如何透過改編，表現當代客家採茶戲曲藝術工作者面對生存危機的努力與價值。 ;Hakkas drama has grown into a part of the national systematic education from the local traditional drama and its teaching can roughly be divided into two categories: The big and the small drama. Among the small drama, the “Three characters tea-picking small drama” (三腳採茶小戲) is a significant basis to inherit the Hakka tea-picking drama performing arts. The current study discussed the features and the relationships between the revised drama scripts and those diverse versions among forks through the comparisons of the performance styles and the scripts of the following sources: The “Chang San-lang selling tea” (張三郎賣茶) ten big serial by Rom-shing Hakka Tea-picking Opera Theatre Company from Miaoli and the annual performance “Brothers selling tea” (兄弟賣茶) by the Department of Hakka Opera, National Taiwan College of Performing Arts. This study has five chapters. The first chapter “Introduction” described the performance styles of the Hakka “Three characters tea-picking drama” and the research motives of this study. It also discussed the current state of the Hakka traditional drama in Taiwan. The second chapter “Script text analysis and comparison” focused on the script analysis of the “Chang San-lang selling tea” ten big serial. This chapter compared and discussed the differences between the “Chang San-lang selling tea” tea big serial and the aforementioned annual performance through the investigation of their story structures and the analysis of their dialogues sung in the dramas. The third chapter “The techniques and descriptions of the performing styles” analyzed the differences of the performance technique by comparing the “Chang San-lang selling tea” ten big serial and the “Brothers selling tea”. The fourth chapter “The traditional and the revised scripts” compared the arrangements and practical differences between the original script and the revised version based on the teachings that the researcher received in the performing arts school. The fifth chapter “Conclusion” elaborated how the modern Hakka tea-picking drama artists deal with the survival crisis and its values through the revision of the traditional drama themes. This chapter employed the perspectives of traditional drama learners, professional drama performers and the angel of literature to address the previous goals.
