20世紀的世紀初與世紀末，客家採茶戲表演藝術內部共經歷了兩次變化，前一次為改良戲的出現，後者則是早期三腳採於當代的復現。兩者於性質與方向上各有不同，也各有特色，但歷史與現象的連續、重疊過程間，彼此也共同面臨著類似的問題，皆在改革與適應之間找尋前路。本文即基於其中的歷史與生態現象訊息為基礎，就藝術內容本身的特徵進行歷史的詮釋與分析討論，並就客家的採茶戲在當代的生態與環境發展現藝術特徵，討論兩次歷史事件對於當代採茶戲曲發展所帶來的可能性與反思可能。

　　　　　A general conception accepted by recent researches and written histories is that events cause the history. But is also makes sense that most historical facts or events are not history but just the material sources without analyzing and interpretation. This paper hopes to deal with a history encompassed by the reception and revolution, a twin significance of view-point of the historical hermeneutic, from the Hakka Tea-picking Opera in Taiwan. As a popular commonsense, the Tea-picking Opera was the most representative symbol of the performing arts among the Hakka traditional culture. Bur in fact, it were completely a complex idea, and it was survived lively in scholar references by arguments at recent decades. Therefore we had to consider the revolution, in Hakka Tea-picking Opera's history, was a kind of spirit based on the foundation of it's performing and invention tradition. But equal importance was, how did we sense the necessity of the reception sustaining, in which evolutional history, in mind of many Tea-picking Opera's performers and inventors? Then by observations, we also noticed a kind of authentic performance, the re-discovery of the Three-characters Tea-peaking Opera, as an original branch of Tea-picking Opera history, had becoming a movement and it had also accompanied an aesthetical notion of historical authenticity at late 20th century. The historical authenticity in the Three-characters Tea-picking Opera was not return to its original mode for justification but toward a new goal, or an ideal.