從客家採茶戲「桃花過渡」出發，探討桃花過渡戲在各種表演劇種形式裡的多樣面貌

Abstract

傳統客家三腳採茶戲十齣裡面有一齣「桃花過渡」，它與採茶戲本身的主題 -- 客家子弟張三郎離鄉背井賣茶討生活的故事沒有很緊密的劇情關聯，反而是與其他的台閩劇種有更密切的相似程度與關聯性。桃花過渡在台閩車鼓戲以及衍生的歌仔戲小調裡面是台灣廣為流傳的男女對唱曲調。流傳之普及，在許多台灣民謠的選即與音樂會中都會出現，足以稱為台灣民謠的代表作之一。而探索桃花過渡之源流，則可以與目前台灣南管劇團所傳承演出的梨園小戲「桃花搭渡」非常相似。而梨園戲「桃花搭渡」的劇情又可追溯自明朝的潮劇蘇六娘傳奇裡面的六娘與一官相戀 婢女桃花渡江傳信的故事情節。 本文從上述客家採茶戲的桃花過渡與台閩其他劇種的相似性與關聯性出發，比較「桃花過渡」這齣小戲在不同劇種中的表演內容，其相似與相異之處，並整理各個劇種的表演風格與特色。透過不同具種之間的表演風格相互比較，來討論桃花過渡為何廣受各具種歡迎的原因，以及客家採茶戲「桃花過渡」的改編策略之中，民間藝人如何挪用其他劇種的故事與歌舞結構，來表現客家採茶戲的表演特色。

Among the ten Hakka tea-picking plays, there is a play called "Taohua crossing river." The play does not connect directly with the central theme of the tea-picking plays -- the tea salesman Chang Sanlang's journey. Instead, the play shows a lot of similarities with the "Taohua crossing river" plays in the repertoires of Taiwan chegu drama and Fujian liyuan drama. The music and story of the "taohua crossing river" play of chegu drama is very popular in Taiwan that it was regarded as part of the Taiwan folk songs heritage. The study discusses the similarities and differences between the Hakka Taohua and the other Taohua plays in Taiwan chegu drama and Fujian liyuan drama. Through comparison, the study attempts to reexamine the performance features of Hakka Taohua as an adaptation of the popular Taohua from other drama genres.