摘要

面對全球化(globalization)的變革，跨越區域研究(area studies)疆域，臺灣客家三腳採茶戲自清領末期傳入臺灣，即盛行於客家部落及台灣北、中部，也逐漸將其影響擴大到閩籍地區。客家音樂多元性素有「九腔十八調」之稱，但何謂是「原汁原味」的傳統客家三腳採茶戲?從想像到建構，今日對於客家三腳採茶戲的傳承，實已進入民間戲班或社團所舉辦的傳習班。面對不同的執行者、演出場地、演出目的、及演出內容，之間相互牽動，所呈現的客家三腳採茶戲的演出，必定會有不同的風格。不同導演的理念，會影響表演形式與內容的展現。本論文將以最具規模資源的「榮興客家採茶劇團」與新竹縣具本土意識的「霓雲社客家三腳採茶戲團」為例比較，來更深一步討論臺灣客家三腳採茶戲的歷史、「張三郎賣茶」十大齣劇目之意涵、表演方式「棚頭」和正戲、以及這兩個劇團在劇本改編上的異同與變化、「落地掃」、「野台戲」、「文化場」及鏡框式舞台的不同呈現、在傳統及當代現代劇場的不同表演形式與戲劇再現。藉分析評論比較此兩劇團，檢視台灣客家三腳採茶戲面臨如何能兼固傳統，且能追求現代化創新的課題。本文指出，「質樸」的「霓雲社客家三腳採茶戲團」風格與「精緻」的「榮興客家採茶劇團」風格，或許為客家三腳採茶行戲發展的兩個方向。

Facing the change of globalization, crossing the boundary of area studies, Taiwan Hakka Three-Role Tea Drama has been imported into Taiwan from China since the end of Qing Dynasty. It has been popular in the Hakka tribes and especially in the north and central parts of Taiwan. It has also gradually expended its influence to the Fujian areas. The music in Hakka Drama is so multiple that it is called ” Nime Tones and Eighteen Tunes.” Yet what is the “authenic” traditional Hakka Three-Role Tea Drama? From imagination to construction, nowadays the learning and inheritance of Hakka Three-Role Tea Drama actually though the classes offered by the troupes and clubs. With different executives, performing spaces, performing purposes and performing contents involved are definitely to be turned out different styles. Different director’s ideas also influence the presentation of performing forms and contents. This paper discuss two Hakka troupes- one is Rom Shing Hakka Opera Troupe, which has biggest scale and plentiful resources, and the other is Ni YUN Club Hakka Three-Role Tra Drama Troupe, Which has local color. Comparing these two troupes, this paper goes deeper to explore the history of Hakka Tree-Role Tea Drama in Taiwan, the meaning of the ten scripts about the story of “Chang San Lang Sole Tea,” performing styles of “Pon-Ton” and the formal contents of the performance, the similarities and differences in scripts adaptations between these two troupes, the different presentation of “Lo Di Sow,””Yie Tai Si,””Wen Hua Chang,” and proscenium stage, the different performing forms and theatrical representation in traditional theatre and the contemporary modern theatre. By analyzing and commenting these two troupes, the aim of this paper is to examine how Hakka Three-Role Tea Drama can not only maintain heritage but also search for modernization and innovation. This paper argues that the style of simplicity in Ni Yun Club Hakka Three-Role Tea Drama and the style of exquisiteness in Rom Shing Hakka Opera Troupe are just like two races of one coin and perhaps the two directions for the Hakka Three-Role Tea Drama to develop.

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