摘要

客家採茶戲的各式劇類之中，「老時採茶戲」是較為原始、早期 的大戲型態，其表演編制、表演型態是最接近客家三腳採茶戲。這類 戲齣皆以客家山歌演唱，較少摻入其他劇種唱腔，因而被稱為「山歌 齣」。本文選擇老時採茶戲中的丑戲《萬事由天（蛤蟆記）》做為討論 對象，以其在客家戲劇發展史上乃「老時採茶」劇類的代表，演出歷 史久遠，故在客家地區流傳甚廣，有其重要性。此外，在「傻女婿」 母題之置入，使劇中主角李不直在被塑造為「憨丑」，經過設計的客 語口白形象生動，充滿機趣，是客家「憨丑」的典型。本文從「題材」、「結構」、「口白」等不同方面探討採茶戲《萬事由天（蛤蟆記）》，做 為客家丑戲的風格特色。首先，探討這齣戲在題材方面，從客家民間 故事「李田螺」到採茶戲《萬事由天（蛤蟆記）》的情節變異、敘事重心轉移 。其次，由這齣戲討論老時採茶戲當代表演中，所呈現的 風格特色。最後，考察客家丑角分類中，「憨丑」的口語藝術。

Among all kinds of Hakka tea-picking drama, the “old style tea-picking opera” is a more primitive, early period dramatic pattern; its performance organization and pattern is the closest to Hakka tea-picking opera. The type of Hakka folksong called “folk out” began in the concert and was seldom mixed with other types of opera singing. This study chooses old time tea-picking opera, a clown drama, “Everything from the Gods (Toad Notes)” as the subject for discussion. In the Hakka drama development history, the representative “old style tea-picking” drama performances have a long history widespread in Hakka areas as well as importance. In addition, in the placement of the “stupid son-in-law” theme, Lee bu-zhi was portrayed as a typical Hakka “foolish clown” by the Hakka uttered words with a vivid image, full of interest. The study selected different aspects, such as “theme”, “structure” and “uttered words” to discuss the tea-picking opera “Everything from the Gods (Toad Notes)”, as the characteristics of Hakka clown drama style. Firstly, it explores the themes of the drama from the Hakka folktales, “Lee Tien Lo” to the variant of the plot, the narrative focus shift in the tea-picking opera, “Everything from the Gods (Toad Notes)”. Secondly, it is presented in a unique style in contemporary performances. A discussion of the play in relation to old time tea-picking dramas follows. Finally, the uttered words of the “foolish clown” among the classifications of Hakka clowns are examined.

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