長期活動於民間的傳統戲劇團，從外臺神明戲的演出場域進入了現代劇場，演出內容也由幕表戲轉換到定本的形式。以民間劇團來說，為了要適應定本的演出模式，整理熟悉的外臺戲劇目加以潤飾，將其修編或改編成能在劇場中展演的劇本，幾乎是每個客家戲劇團都曾經歷的階段。 無劇本的幕表戲表演充滿了即興特色，以特殊的套路排列組合而成。編劇修編的過程中，在空間轉換的同時，如何在劇本及表演方面做出改變以適應場域轉換。筆者以一個參與者及研究者的角度，整理了景勝戲劇團歷年演出劇目。選定以景勝戲劇團的《專諸刺王僚》與《鴛鴦淚》為例，探討這兩個劇目如何從幕表戲的表演型態透過修編後進入現代劇場展演。並比較兩個劇目的幕表版本與定本版本之間，從劇本架構的調整、表演模式的改變、念白與曲唱之間的轉換作為切入點。進行比較分析，歸納出修編劇本時能夠思考的方向。 ;Traditional theatrical troupes, which have long been popular among the people, have entered the modern theater from the field of outer stage of deity drama. The content of the performance has also changed from the outline play to the compiled form. In order to adapt to the performance mode for the compiled play, almost every Hakka troupe has gone through the experience of adapting the familiar outer stage plays by embellishing and adapting them into scripts that can be performed in the theater. The scriptless outline play features a special arrangement of improvisation. In the process of revision, the playwright has to take into account how to break through the framework and alter the script and performance so as to adapt to the spatial shift. From the perspective of a participant as well as a researcher, the author has compiled a list of plays performed by the Jing Sheng Opera Troupe over the years. The two plays are selected as examples to explore how these two plays were adapted from the outline play format to modern theatre performances. The comparison between the outline version and the compiled version of the two plays is based on the adjustment of the script structure, the change of the performance mode, and the transformation between monologues and songs. After comparing and analyzing, the directions that can be considered when revising the play are summarized.
