以小戲崛起的客家採茶戲，在演出模式中，民間藝人一方面摸索出客家曲牌的創作形式，另則通過吸收其他劇種的優點，從而演變一套稱為「幕表戲」的表演形製。幕表戲「劇無定本」，當下性、變異性和流動性是其突出的形象特徵。 即便是幕表戲演出，若是一齣劇由同一群人演出，時間久了，受觀眾歡迎的鏨頭（橋段）、臺詞及唱腔會漸漸被固定下來，演員依據被固定的套式進行演出，成套的套路與程式語言進行拼接，它的即興存在於如何將「套式拼湊順序」的即興，這個順序是由演員自行操控著的，並非是無中生有、憑空想像，不同的套式順序會影響出不同的呈現效果，但不會影響到結局的發展，過程是可以隨著演員去做變化，因此稱之為即興或許無法直接準確的形容，這也是為何民間藝人會將之稱為「活戲」不是沒有其道理。 綜觀整個戲曲史能發現，無論任何戲劇都經歷從即興到定本的過程，並且重複發生，我們長期的忽視幕表戲，無法理解其在戲曲史的重要定位。 本文以筆者長期實踐的客家幕表戲表演型態為主要觀點，分析其幕表戲的歷史脈絡至現今樣貌，並從外臺戲的「內」、「外」部運作機制去探討客家幕表戲的整體運作模式，在深入瞭解客家戲幕表戲表演型態中有何特色，最後探討其面臨的困境。 ;The Hakka tea-picking Xiqu was originated from the early stage of drama. Artists explored the creation of Hakka Xiqu songs and learnt from the merits of other forms of dramas. As a result, a new kind of performances called “Mubiao-xi”. Mubiao-xi was developed. The prominent image features of “Mubiao-xi” are the non-fixed scripts, the focus on the “present” , its variability and mobility. If a “Mubiao-xi” is performed by the same group of people for many times, the “ cham-thau” (鏨頭), lines and singing style that are popular with the audience will be gradually fixed, and the actors will perform according to the set. The nature of improvisation of “Mubiao-xi” exists in how the actors improvise the “set-up order” (「套式拼湊順序」). This order is controlled by the actors themselves. It is not developed out of nothing and actors’ wild imagination. The improvisation of the orders can be changed by the actors. The different sets of orders will only affect the presentation of the show, but will not affect the ending. Therefore, it may not be accurate to describe it as improvisation, which is also why some artists call it "live drama” (活戲). If we look at the development of the Chinese Xiqu, most of the sub-types of them experience the process of having to start with improvisation to having a fixed script, and it occurs recurrently. If the “Mubiao-xi” is ignored in the development, its status in the development of the Chinese Xiqu pera will not be acknowledged. Taking the author′s long-term practice of Hakka Xiqu performance as the main point of view, this research analyzes the development of the “Mubiao-xi” and how it has been shaped to the present appearance. It also explores how the Hakka “Mubiao-xi” is produced from the "inside" and "outside" angle of the drama. It also discusses the performance patterns of the Hakka Xiqu and finally, explores the obstacles it faces.
