客家戲劇主流化个創作內容同歷程：以哈旗鼓文化藝術團為例

Abstract

本研究主要愛分析哈旗鼓文化藝術團（以下簡稱：哈旗鼓）對2012年起勢到2019年為止所創作過个四齣戲，將把這段客家戲劇行向主流化个過程分享讀者。筆者身為四齣戲劇个藝術總監為主要个創作者，按算採取個案研究方式分析戲文寫作、作戲規劃、成果報告，再透過筆者自家來提出綜合性个論點同建議。研究發現，在哈旗鼓戲劇創作行向主流化个過程，有以下幾隻特色：其一，對熟識行向生份。其二、對單一行向多元。其三、對舞台演出行向社會議題。其四、對文化行向藝術化。未來建議：一、自家行出去大家正會行入來。二、主體優質化係多元化个基礎。三、多元合作提升客家藝術層次。

This study aims to analyze four series of Hakka wars presented by HaChiGu Cultural Arts (HCG) from 2013 to 2019. The language conversion from field work, drama writing to stage reproduction was explored. Comprehensive arguments and suggestions were put forth to serve as references for future Hakka drama research. The Findings show: 1. Re-interpreting literatures and field data through Hakka subjective reading; 2. Adopting Hakka subjective writing to reproduce the story context through ordinary Hakka language; 3. Forming the script through thematized processes; 4. Literature writing and subject involvement provide viewers with a sense of virtual-real satisfaction; and 5. the imagination of the drama and subject involvement enhance the synchronic experience. Diverse teamwork is suggested to facilitate Hakka drama abreast the times and the modern mainstream culture.