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|Title: ||臺灣客家三腳採茶戲 「張三郎賣茶」 劇目改編之初探|
|Keywords: ||客家戲曲;改良戲;採茶戲;張三郎賣茶;傳統與改編;Hakka drama;revised drama;tea-picking drama;Chang San-lang selling tea;traditional and revised|
|Issue Date: ||2016-10-13 13:45:14 (UTC+8)|
;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.
|Appears in Collections:||[客家語文研究所] 博碩士論文|
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