客家戲曲經過百年的歷史，以人物形象的塑造，創造出有別於其他劇種的文化特質。本研究以「榮興客家採茶劇團」2008年客家大戲《大隘風雲》為研究對象，探討編導演如何運用文字文本及表演文本的構思，塑造角色劇中的形象，突顯人物性格，讓故事情節環環相扣。 本論文除了首章的緒論及最後一章結論之外，第二章整理客家戲曲的形成與流變，將《大隘風雲》這齣劇作的重要性點出，並說明四齣代表劇目的意義與價值；第三章主要梳理研究作品《大隘風雲》的歷史事件發生始末，將編劇所創作的故事與真實事件及人物加以區分，帶入敘事學中的「視角」、「情節」、「人物類型」，來探討最終產生的戲劇效果；第四章以傳統戲曲的行當做為基準，看導演如何構想人物行當性格，並探討演員如何透過語言、肢體的傳達，來形塑人物的形象，賦予客家先民的史實故事新的生命。 ;Hakkas drama(opera) has experienced nearly one hundred years. The figure molding is created by culture characteristic that is different from other operas. The study using “The Legends Of Da-ai ” (大隘風雲) by Rom Shing Hakka Opera Troupe (榮興客家採茶劇團) from Miaoli in 2008 to discuss how to perform script conception and mold the role in the opera in order to make characters stand up and then the story becomes interesting and closely interconnected and inseparable. Defined as five chapters, including the first chapter Introduction and the last chapter Conclusion, to talk about “The Legends Of Da-ai” (大隘風雲) plays an important role of Hakkas drama. The second Chapter discussed the creation and development of Hakka’s drama in order to point out “The Legends Of Da-ai”(大隘風雲) is very important representative work and explain its meaning and worth. The third Chapter summarized the historical incident of “The Legends Of Da-ai”(大隘風雲) to understand the director how to distinguish between real events and story to show “Point of view”, “plot” and“Character Type” in Dialogue Operating. It also investigated its final effect. The four chapter is based on the traditional drama themes to see the director how to imagine the characters in the play. The investigation is also to know performers how to mold through dialogues and body-language to make the new life in the Hakka’s history.
