近年來，臺南人劇團的《閹雞》；綠光劇團的《清明時節》、《苦瓜》、《單身溫度》、《押解─菜鳥警察老扒手》；魏瑛娟導演的《西夏旅館‧蝴蝶書》；公共電視中的《一桿秤仔》；明華園與故事工廠的《散戲》；阮劇團的《嫁妝一牛車》等臺灣文學作品被大量改編成影、視及舞臺劇等不同媒體形式進行呈現演出。本研究以2019年臺灣青年劇團改編自呂赫若(1914-1950)之〈牛車〉所演出的舞臺劇作品《巨輪》及客家電視劇《台北歌手》改編演出中的戲中戲之內容為研究對象，呂氏於1935年發表的〈牛車〉獲刊於日本《文學評論》雜誌，成為繼楊逵〈送報伕〉之後第二位進入日本文壇的臺灣作家作品，也是日據時期躍登日本中央文壇最年輕的小說家，自此其作品便受到各界矚目。〈牛車〉一文描寫日據時期臺灣人於殖民統治下之生活景況，在社會變遷下，底層人民的真實寫照，與過渡時期的頑抗心理。本研究所關注之處在於不同傳播媒介拓展文學的表達形式，以改編過程為觀察脈絡，分析從小說到舞台劇文本的轉換過程間出現的跨媒介互文現象與呂赫若作品中所蘊涵的社會思想與人道關懷，除了彰顯其文學價值之外也深具意義。 In recent years, a large number of Taiwanese literary works have been adapted into different media forms such as film, television and stage plays for presentation. This research focuses on the content of the play within the play adapted from the stage play “The Great Wheel” by the Taiwan Youth Theatre Company in 2019 and the Hakka TV drama “Taipei Singer”. His “The Bull Cart” published in 1935 was published in Japan's “Literary Review” magazine, becoming the second Taiwanese writer to enter the Japanese literary circle after Yang Kui's “The Newspaper Delivery”, and the youngest to leap into the Japanese central literary circle during the Japanese occupation period. The novelist, since then his works have attracted attention from all walks of life. The article “The Bull Cart” describes the living conditions of Taiwanese under colonial rule during the Japanese occupation period. Under the social changes, the true portrayal of the people at the bottom and their recalcitrance during the transition period. The focus of this research lies in the expansion of literary expression in different media. Taking the adaptation process as the observation thread, it analyzes the phenomenon of cross-media intertextuality in the process of transition from novel to stage play and the social thought and social thought contained in Lu He Ruo's works. Humane care, in addition to highlighting its literary value, also has profound significance.
