本研究以台灣客家採茶戲的發展及其文本形成為題，針對客家採茶戲的「劇目形成」、「文本型態」、「劇本改編」進行文學向度的考察。 一、劇目的形成與發展 自從1910年代客家三腳採茶戲發展為改良採茶戲之後，演出場域歷經「內台」、「外台」、「電台」、「文化公演」、「電視台」等不同的表演場域。由於每個場域的性質使然，而有不同的劇目產生、類型的形成，以及表演風格等。 二、文本型態的考察 探討採茶戲常見的兩種文本類型「幕表戲」與「定本戲」，考察文本的特徵及結構、導演的說戲、演員的即興演出，以及民間戲班對於「幕表戲」與「定本戲」的運用。 三、特定作品的跨場域改編 選取黃天敏的內台戲《太平天國》，討論由「定本戲到幕表戲」的改編歷程。以及曾先枝三齣公演代表作《三娘教子》、《李阿三嫁母》、《緣訂三生》，討論「幕表戲到定本戲」的改編歷程。 / The study using the development of Hakka tea-picking drama and its text formation as the topic aims at the repertoire formation, text types, and opera revision as the aspects of literature to review. I. The formation and development of repertoire: The Hakka three-role tea-picking drama has developed as the improved tea-picking opera since the 1910s, the different performing field has experienced of indoor, outdoor, radio station, cultural performance, and TV station, and so on. Due to the impact on each field, there is different generation of repertoires, the formations of types, and performing style, etc.. II. The review of text types: It discusses of two frequently shown text types in the tea-picking opera: scenario drama and standard drama to review the characteristics and structures of text, the director’s explanation of the story, the player’s improvisation, and the folk theatrical troupe’s the applications of scenario drama and standard drama. III. The revision of drama in cross-field theatre There are selected of indoor Taiwan directors’ revised course, Tien-Ming Huang’s discussion of Taiping Heavenly Kingdom from standard drama to scenario drama and Xian-Zhi Zeng’ three represented publications, the discussions of Third Madame educates her son, A-San Li’s remarried mother, and Fate for three lifetimes from scenario drama to standard drama.