本論文以台灣亂彈戲曲劇本的傳播衍化現象為討論主題，分別就民間手抄本所記載之戲曲相關內容所呈現的各式問題，以各章節針對所見諸種現象由不同角度切入探討。 歷來討論亂彈戲歷史淵源的論述多持單線流播的推論，然此說法實不足以反映亂彈戲曲多線多元的變遷歷程，亦無法解釋亂彈戲曲內容所反映的紛雜多樣之衍化結果。本文以現存劇本所錄劇詞、曲詞等文字內容為分析基礎，另參酌主要人物關係、重要情節關目，以及彼此交織而成的組織架構為分析結構單位，視劇本為一具有多層次內涵的場域，嘗試提出新的拆解方法和詮釋角度，探索臺灣亂彈戲曲之外部形貌與內在結構的勾聯關係。並以實際劇本為例，印證留存於臺灣亂彈戲劇本內容，所表現出跨越不同時空、聲腔劇種，甚至跨內部系統的留存與變異之現象，說明亂彈戲曲具有多元並存的歷史痕跡之外，尚且保留不同變遷階段的樣態，對戲曲演化的趨向與模式提供探尋線索。 另提出相對比較的分析概念，藉以辨識亂彈戲劇本中具關目情節段落性質之結構單位，如何拆解移植與重新組織的存在現象。指出在此劇種的劇本中，不僅可能找到不同劇本間共通的架構支點與翻轉樞紐，並能分析出有關劇本在經由交相組織劇中主要人物關係與關目情節中，如何構成一劇之整體組織內在的基礎結構，並顯現劇本本身的構造特徵。 Focusing on the study of the propagation and evolvement of Taiwan Luan-Tan Opera, the thesis represents the research of numerous phenomena with different points of view through those issues, arisen form the manuscripts of this traditional Taiwan Luan-Tan opera. Once people refer to the history of Luan-Tan Opera, the one-way spread inference is mentioned all the time. However, the one-way spread inference is insufficient for reflecting the multi-way and diversified track of Luan-Tan Opera. In addition, the one-way spread inference will not be able to reconstruct those various evolutionary results of the historical developments of Luan-Tan Opera. The thesis looks on the scripts as a field with multi-layer contents based on those lyrics and words of existing scripts, in order to discover the connections with the shapes, images, and the innermost world. It involves the relationships of major characters, plots, and the complex of the network between those personages and stories. In the meantime, this thesis interprets the traces of multi-form and those shapes of different stages and furthermore provides those clues to discover those trends and patterns of the development of Luan-Tan Opera beyond, in consequence of those time crossing genres. Moreover, the thesis also takes the distinction analysis to present the basic elements of significant plots and shows the phenomena of the way to take apart and rebuild the framework of the play. This part points out there is not only chances to find the general joints of a skeleton and the key-point of reverse, but also sketching out the features of the structures of the script and form the construction of the foundation of whole opera.
