本劇《錯位．錯配》以唐代短篇文言小說〈馮燕傳〉作為改編的出發，依其精簡的文字內容，找尋出基本的情節架構，並在文字間掌握再創作的線索與空間，並對〈馮燕傳〉文末的讚語：「然而燕殺不誼，白不辜，真古豪矣」提出疑問—為何馮燕由竊人之妻至弒不義之婦，可獲得豪俠一美名？而對於馮燕通情的對象—張妻的形象定位，則著重在於不義之婦之上，貶抑張妻的人格。故本文以將針對〈馮燕傳〉進行人物間關係的探究，並透過後世改編本〈馮燕歌〉與〈水調七遍〉的人物形象分析作為對照，試圖在馮燕所被賦予的俠義形象中，找出不同與原著和改編本的觀點。
This drama, Error Marriage, is an adaptation from the Féng Yān Biography, a novel written during the Tang Dynasty. According to reduced writing style found in the framework of this thesis you are able to recreate from Feng Yen biography. Towards the end of the Féng Yān Biography it brings up the following question: “However, Féng Yān killed the impure women and confessed his crime. So was he a real hero?” Why can Féng Yān be a hero, be an adulterer and kill people? The heroine in Féng Yān Biography settled an affair and ruthless position, but belittled the personality of the heroine. My thesis will research the relationship between the roles in Féng Yān Biography, and measure the contrast between Féng Yān Poem and Shui Tiao Chi Bian. My thesis creates a new point of view from these books.
