| dc.description.abstract | 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.
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