本文研究客家劇團新樂園《青天斷婿》和歌仔戲明華園《超炫白蛇傳》，非比較閩、客戲劇，乃針對兩劇團皆加入些許客家元素的兩齣表演之改編與再現手法比較。藉由戲劇理論「改編」與「劇場性」，探討此兩劇團如何將民間傳說改編成劇本，觀察改編之意義，與如何以「再戲劇化」方法，用舞台設計、燈光、音效、配樂及演員「再現」文本。新樂園《青天斷婿》在劇本改編，延伸民間傳說，將焦點轉向親情與捍衛名譽之間的掙扎和拉扯，戲曲演出形式強調演員唱唸做打，舞台採意象設計，燈光與音效設計屬較傳統的概念，觀眾坐在台下「看」表演而非「參與」演出。相較之下，明華園《超炫白蛇傳》在劇本改編，強調白蛇與青蛇的女性意識與主體性，許仙被塑造成較重情義，法海和尚則持平處理，仍維繫民間故事傳說，將之作為「正統」、「道統」的化身。但在舞台展演使用新型科技技術與特效，商請數輛消防車噴數公尺高的水柱、吊鋼絲及大型道具，眾演員蝦兵蟹將，以盛大景觀「水淹金山寺」，重現白蛇與許仙的愛情故事。於客家人多的新竹縣體育館表演，吸引數萬人到場觀賞演出，打破鏡框式舞台，強調與觀眾互動。這兩劇團透過「劇本改編」與「戲劇再現」，各自傳達對民間故事傳說的不同思考與轉化。

This paper researches the Hakka Troupe New Paradise’s Ching-Tien Judges the Right Son-in-Law and the Taiwanese Ming Hwa Yuan Arts & Cultural Group’s Supercool Legend of White Snake. It does not compare the Fujian language drama with Hakka language drama, but focus on the comparison of the two performances both added with some Hakka elements in terms of adaptation and representation. By way of theater theories of “adaptation” and “theatricality,” the two troupes are explored to see how they adapt the folk legends into the scripts, observe the signification of adaptation, and how to apply the method of “retheatricalization” to using stage design, light, sound effect, music and actors to “represent” the texts. New Paradise Troupe’s Ching-Tien Judges the Right Son-in-Law in script adaptation extends folk legend to swift the focus on the struggle and tension of family relationship and defense of honor. The traditional drama performing form emphasizes on the actors’ singing, reciting, doing and fighting. Stage design adopts the image design; light design and sound effect belong to be more traditional concept. The audience members sit below the stage to “watch” the performance, instead of “participating in” the performance. In a comparison, Ming Hwa Yuan Arts & Cultural Group’s Supercool Legend of White Snake in script adaptation emphasizes on the white snake and the green snake’s women consciousness and subjectivity. Hsu, Hsien is portrayed as having more feelings and righteousness. Monk FaHai is presented fairly; still maintaining the folk take legend to use him as the spokesman of “canon” and “logo.” Yet the stage performance uses new technology and special effect. The troupe asks the fire station’s favor to mobilize several fire fighter trucks to spray water in hundreds of meters high. The lead actress is suspended in the air by iron. The performance uses big props. Numerous supporting actors play the roles of shrimp soldiers and crab generals in the scene “Gold Mountain Temple in Flood” with spectacle to represent the white snake and Hsu Hsien’s love story. This performance is staged in the outdoor Gym of Hsin Chu County where a lot of Hakka people inhabit. It attracts hundreds of thousands spectators to go there to watch the performance. It breaks the boundary of the proscenium stage to put on the emphasis of having the interaction with the audience members. These two troupes, through “script adaptation” and “theatrical representation,” each transmit their different thinking toward the folk tale legends and the transformation.