自1988年「還我母語」運動所帶動起客語文學創作風潮以來，客語戲劇創作仍屬鳳毛麟角。吳川鈴長期致力於客家文化推動，其客語戲劇題材多元，文化內涵豐厚，內容與形式均有可觀之處，其中尤以戲劇語言的運用與風格的呈現具探討價值。語言風格就是修辭效果的集中表現，本文擬參考文藝修辭學相關理論，以吳川鈴客語短齣劇本（一到五冊）為研究文本，探究其戲劇語言風格的表現。討論面向有三點：第一，探討吳川鈴劇本因口語化、性格化語言運用而形成的通俗淺顯風格。第二，從劇名標題、遣詞用字，以及相關辭格的運用，探討其含蓄精練的語言表現。第三，從諧音之語、乖謬之語、缺漏之語、機智之語、誇張之語等唸白藝術表現，探討其幽默詼諧的語言風格。最後總結全文，希望藉由上述探討，為研究客語戲劇語言風格，提供一審美批評角度。

Since 1988 “Give me back my Native Language” movement brought the fad of Hakka literature creation; however Hakka drama creation is still scarce. Chuan-Ling Wu has been endeavoring to promote Hakka culture. The subject matters of Hakka drama are multivariate, and the culture connotation is rich. Furthermore, the content and form are impressive, especially in the use of drama language. The presentation of drama style deserve exploration. This article intends to refer to the theory of literary rhetoric using Chuan-Ling Wu’s short script (Book 1-5), exploring the presentation of drama language style. There are three points for discussion: First, exploring the “common and plain” style of Chuan-Ling Wu’s script because using language of “colloquialism” and “characteristic”; Second, from the “title of drama”, “choice of words” and use of relevant “rhetoric” to explore the presentation of “implicit and concise” language; Third, from the style of “language of homonym”, “language of logic errors”, “language of gaps”, “language of exaggeration” and artistic expression to explore the style of “humor” language. In the conclusion of this article, I provide an aesthetic criticism perspective for the study of Hakka dramatic language style.