臺灣採茶戲曲根生於民間，從三腳採茶小戲往文戲發展「改良」，至今約百年的歷史，時至今日，其藝術內涵已不可同日而語。臺灣當代採茶戲曲發展歷程中「三腳採茶小戲」、「內臺改良時期的文、武戲齣」，以及日趨成熟的「客家採茶大戲」等型態，表現出層疊的交融、共存的狀態；而無論是民間野臺神明戲、現代劇場公演，或是為電視媒體而製播，在在表現出今日名為「客家戲」的採茶戲曲，涵融著不同劇種藝術內涵的多元特徵。採茶戲是年輕的戲曲劇種，晚近二、三十年明顯有更多題材路線的開展，並且包括跨文化（劇種）與有意識的跨聲腔、語言的編創演出的探索嘗試。這些新的開展已成為臺灣採茶戲持續發展的一股動能，除了證成此一劇種持續處於動態發展的狀態，亦見證當代採茶戲曲創作者與表演者的作品實演，已成為建構當代採茶戲曲藝術內涵的具體依憑。本文試以〈改良採茶的古典取徑－以「大小牌之部」〈和番〉的再舞臺化歷程為例〉為論題，用「〈和番〉五牌」為討論起點，藉以探討採茶戲從古典劇目傳統取徑的可能，並就當代劇本編創與古典傳統間的連結和運用，進而提出：採茶戲在開創新劇目題材路線之際，展演作品的實存與編創歷程，已潛藏建構當代採茶戲藝術版圖的想像與實踐之種種可能的觀點。

The Tea-Picking opera of Taiwan is stable among the people and has improved for about a hundred years, from the original Three Characters Tea-Picking Opera to more contemporary pieces. Nowadays, this performing art's artistic connotation is different and better than it was. Throughout the evolutionary process of the Tea-Picking Opera, the ＂Three Characters Tea-Picking Opera＂, the ＂civil and martial pieces in the theater times＂ and the maturing ＂Hakka Opera＂, we can tell the phenomenon of the mixing and coexistence. Besides, whether it is the outdoor thank God drama, modern play in the theater or made for TV media, all of them appear to be known as ＂Hakka Opera＂ today, and contain the feature of being multi-artistic. The Tea-Picking Opera is a new type of drama. In recent twenty to thirty years, its artists have been trying to apply more themes and ways to prosper the script and performance, including the culture-crossing (drama-crossing) and the intention altune-crossing and language-crossing. All these new explorations have become the growing power of the Taiwanese Tea-Picking Opera, proving not only that the drama is still in the position of growing and developing, but also that the play of the works from the writers and actors have become the main structure of modern Tea-Picking Opera. This article is entitled ＂Learn From the History of Tea-Picking Opera: Take the Re-staged Process of ＂the Big and Small Section＂ (Marry the Foreign) as an Example.＂ I use the ＂(Marry the Foreign) the fifth tune＂ as the origin of the discussion to explore the possibility of learning from the traditional repertory, and then to link the modern script and the traditional ones together. I produce the theory that the Tea-Picking Opera has already built its art-territory and possibility during the process of the exploration.