本詮釋報告以相聲逗笑手法切入、解析音樂劇《一脫到底》（原英文劇名：The Full Monty），並以相聲的歷史開始了解相聲之中的逗笑角色其職能變化。同時透過分析歷史名家對相聲逗笑手法的經驗總結，並與之和西方逗笑方法做對比。接著以《一脫到底》中男主角與其脫衣舞團的故事主線為主，進行逗笑手法分析、對腳本進行更趨近於相聲逗笑技法的改寫最後再進行角色分析。
本論文的研究架構方面，第一章為研究方法與架構；從第二章開始進行文獻探討，內容有相聲的歷史與表演形式、相聲的逗笑手法、《一脫到底》的劇本背景和版本比較；第三章開始探索相聲的逗笑手法在《一脫到底》的應用，此章中第一節為《一脫到底》的劇情概述，然後會將相聲的逗笑手法做新的分類，為方便解析所以會將劇本進行新的場景編碼，最後會對節選的劇本文本進行逗笑手法的解析；第四章會回歸角色進行角色分析，透過對行為的側寫、場景目標的確定以及濳台詞分析，了解Jerry的形象及角色狀態；第五章則綜合上述內容對論文進行總結。

This written report explores a possible interpretation of the musical, The Full Monty, from the perspective of comic approaches in Xiangsheng(crosstalk), starting from examining its history to highlight the changes in the functions of comic characters in this traditional form of art, to summarizing multiple Xiangsheng masters’ visions of comic techniques with a comparison to western comedy genres. The report then focuses on the narrative journey of the protagonist and his striptease troupe in The Full Monty, analyzes comic techniques utilized in the text, provides a rewriting of the text in an approach paying homage to the art of Xiangsheng, and concludes with a character analysis.

The first chapter introduces a methodology and an outline of the report’s structure while the second chapter presents a literature review of researches related to the history and performance forms of Xiangsheng, traditional forms of comic techniques, the background and version comparisons of the script of The Full Monty. The third chapter, as the core of this report, explores the adaptation of Xiangsheng comic approaches in rewriting The Full Monty. Its first section summarizes an overall plot of The Full Monty, and categorizes the traditional Xiangsheng comic techniques into new sorting systems. New labelling of scenes for The Full Monty will be introduced to complements the formal analysis of the adapted text of the latter section. The fourth chapter will focus on character analysis, including actions, the determination of scene goals and subtexts, to explore Jerry's image and condition. The fifth chapter will conclude the report with a summary of the above contents.

一、 中文書目：
于成鲲. (1992). 中西喜劇研究-喜劇性與笑. 學林出版社.
王決、汪景壽、藤田香著. (1995). 中國相聲史. 北京燕山出版社 .
汪景壽、藤田香. (1992年). 相聲藝術論. 北京大學出版社.
金名. (1984). 相聲史雜談. 福建人民出版社.
姚坤君. (2020). 演員功課-『求證』的演繹過程. 書林出版有限公司.
英斂之. (1908). 也是集續篇.
馬季. (1980). 相聲藝術漫談. 廣東人民出版社.
馮不異、劉英男. (1993年). 中國傳統相聲大全. 文化藝術出版社.
葉怡均. (2004). 笑亦有道：論相聲之藝術表現.
裝文扮武我自己. (無日期). 台北曲藝團.
劉梓鈺. (1990). 相聲藝術的奧秘. 百花文藝出版社.
慕羽. (2012). 百老匯音樂劇. 台北市: 大地出版社.
薛寶琨. (1989). 中國幽默藝術論. 浙江人民出版社.
羅榮壽. ( 1979). 相聲表演漫談. 上海文藝出版社.
BrokettG.Oscar. (2001年9月). 世界戲劇藝術欣賞. (胡耀恆, 譯者) 志文出版社.
GregDean. (2018). 手把手教你玩脫口秀. (程璐, 馮立文, & 梁海源, 譯者) 浙江人民出版社.
KaplanSteve. (2019年11月). 超棒喜劇這樣寫. (呂繼先, 譯者) 鏡文學股份有限公司出版.
McrchantMoelwyn. (1981). 論喜劇. (高天安, 譯者) 黎明文化事業股份有限公司.
WrightA.Edward. (1992). 現代劇場藝術. (石光生, 譯者) 書林出版有限公司.
二、 網路資料：
東默農. (無日期). 【幽默喜劇】搞笑喜劇的基本功是什麼？. 擷取自 東默農編劇: https://www.domorenovel.com/【幽默喜劇】搞笑喜劇的基本功是什麼？/
Admin. (2020). Class Master – A tribute to the American playwright and lyricist Terrence McNally. 擷取自 Musical Theatre Review: https://musicaltheatrereview.com/class-master-a-tribute-to-the-american-playwright-and-lyricist-terrence-mcnally/
Broadwaycom. (2018). Show People with Paul Wontorek: David Yazbek of THE BAND'S VISIT. 擷取自 Youtube:
https://www.youtube.com/watch?v=DHjmTht6WpE
EvansSuzy. (2020). Terrence McNally, Trailblazing Titan of American Theater, Dies of. Coronavirus Complications at 81. 擷取自 Hollywood: https://www.hollywoodreporter.com/news/general-news/terrence-mcnally-dead-kiss-spider-woman-ragtime-love-valour-compassion-playwright-was-81-1222758/
GussowMel. (無日期). Stage: ‘Whiskey’ Opens. 擷取自 New York Times: https://www.nytimes.com/1973/04/30/archives/stage-whiskey-opens-comedy-by-mcnally-is-at-st-clements-the-cast.html
HETRICKADAM. (2008). The Full Monty, with Jim Newman, to Open San Jose's 74th Season. 擷取自 Play Bill: https://playbill.com/article/the-full-monty-with-jim-newman-to-open-san-joses-74th-season-com-152220
JBProduction1980. (2014). Wolf Creek Player's "Next" by Terrance McNally. 擷取自 Youtube: https://www.youtube.com/watch?v=e8X5NnXguXM
KleinAlvin. (1989). McNally's Plays Take Diverse Paths. 擷取自 New Yourk Times: https://www.nytimes.com/1989/11/19/nyregion/mcnally-s-plays-take-diverse-paths.html?searchResultPosition=1
KOPIT WITHDRAWS PLAYS IN DISPUTE; Minnesota University Denies His Charge of. Censorship. (1964). 擷取自 New Yourk Times: https://www.nytimes.com/1964/01/13/archives/kopit-withdraws-plays-in-dispute-minnesota-university-denies-his.html?searchResultPosition=1