本文探討客家採茶戲曲藝術內涵本質的演變，以2012年國立臺灣戲曲學院客家戲學系年度公演之《兄弟賣茶》為選例，詴從文學與音樂兩方面探討分析，此劇透過曾先枝、鄭榮興編製《三腳採茶唱客音》的「張三郎賣茶」系列劇目的改編基礎，輾轉繼承了「張三郎賣茶」故事的文本架構與設計。藉由《兄弟賣茶》一劇的分析，本文意圖探討客家採茶戲曲發展過程中面對藝術本體於「本」與「變」的取捨思考，並強調當代採茶戲曲演出在重新演繹傳統劇目文本或編創新作之時，掌握文學與音樂二者共同築構內在統一邏輯之文本架構模組的必要性。

This paper discussed the innate character of Hakka Tea-Picking Opera from literature and music, bases on the Premiere of ”Brothers Who Sell Tea” (《兄弟賣茶》) from 2012 Department of Hakka Opera, National Taiwan College of Performing Arts (NTCPA) annual production. ”Brothers Who Sell Tea” inherited, someway, the structure and design of the stories of ”Chang San-Lang's tea-selling business” (「張三郎賣茶」) as the Three Characters Tea-Picking Opera repertory through ”Three Characters Tea-Picking Opera performing The Hakka Essences” (《三腳採茶唱客音》) , adapted cooperation by Prof. Cheng Jung Hsing (鄭榮興) and Mr. Tseng Hsien Chi (曾先枝).Via the play of ”Brothers Who Sell Tea” (《兄弟賣茶》), this paper goes deeper to explore the options since facing the compromise between the ”foundation” and ”arrangement”, seemed to be an invention from the theatre arts itself. Features out and highlights the essentiality of mastering to fuse the literature and music within a unified module.