臺灣亂彈戲（北管戲）除扮仙戲、小戲外，歷史劇與家庭戲是「正本戲」的兩大類，福路系統的《藥茶記》、《雙貴圖》、《合銀牌》、西路系統的《鐵板記》均與娶有二妻或續弦的家長出門後，家中某位女性意欲害人，引發家變有關。本文先討論北管戲劇文本的研究方法與成果、劇目分類，繼而分析這四齣戲的來源、故事、角色、分臺，歸納其敘事結構的基本型態、變化與場景空間，剖析文本顯露的群體心態和後續世代的距離。 研究發現：北管戲中男人「離家」的主題呼應清末男性離鄉來臺的背景，他們擔憂在鄉家人不和引發人禍，相信以「善」為中心的行事準則。儘管北管文本傳達的群體心態停留在清代，但表演用語、節奏等已因應觀眾與環境而改變，能否增強傳統對當代年輕人的影響力，是其未來留存的關鍵。

Besides plays of the immortals and short plays, historical drama and family drama are the two main categories in the“classic repertory”(正本戲tsiànn-pún-hi) of the Beiguan theatre. The family dramas, Story of Poisoned Tea (Yiaochaji), Picture of Two Noble People (Shuankuetu), and Joining Silver Medals (Heyinpai) in the Fulu system and the Story of Iron Plates (Tieibanji) in Xipi system of Beiguan theatre all depict how, when the head of family (either married to two wives or to a second wife after the first one dies) leaves home, one of the women attempts to victimize the other. This paper first presents the methodology and the current research results on the dramatic texts of the Beiguan theatre and discusses the categorization of the repertory. Following that, by analyzing the sources, stories, roles and contents of the scenes in the four plays, it summarizes their basic narrative structure and its variations, their use of space in the scenes, and elaborates on the group mentality revealed which does not quite resonate with Taiwan’s current generation. From the study, the theme of“head of family leaving home”is found to be related to the social context where numerous male Chinese left for Taiwan in the Qing dynasty. The dramas reflect these men’s mentality--they believed in the behavior norms based on the“good”and worried about possible disasters caused by family discord. Although the dramatic texts reflect the group mentality of Qing dynasty, the diction and the tempo of the performance have been updated to attract more modern spectators. To strengthen the influence of traditional culture on the young generation is the best policy for the safeguarding of the Beiguan theatre.