舞臺性大眾娛樂必須經過上演且被觀眾接受之後始告完成，即使是相同作品，亦可能根據觀劇行為以及觀眾屬性等，呈現出多樣面貌。本論文將以2020年2月至2022年5月之間的東京為實例，探討新冠肺炎之防疫措施所產生的表演形式，是否可歸屬於一般上演之「多樣面貌」範疇之內。執筆時的2022年8月因為還在防疫措施之下，筆者自知本文仍屬推論程度，但依然試圖嘗試進行考察。為了彌補舞臺性大眾娛樂在一段時間內失去演出機會而造成的損失：製作和演出相關人員的收入，以及人們無法享受本應上演作品的損失，促進了現場表演的影像化。2020年也被稱為串流服務元年，影音作品不僅僅是在網上觀賞，還創置了資料庫儲存，謀求再利用以獲得收益的結構系統。同時，影像作品被重新認識與現場表演不同。了代替現場表演而創造的各種離線企劃裡面，有的可以認歸屬於一般上演之「多樣面貌」範疇內，還有為了保證具備舞臺性大眾娛樂的現場性和一次性的特點，最少需要什麼的提醒。這一提醒可能會使今後與病毒共存的後新冠肺炎時代的上演管道更加豐富。

The popular entertainment on stage is completed when it is performed for and received by the audience. And thus even one work can have "variations" due to the audiences' varying attributes, their reactions, and so on. Whether or not the performing style generated by measures to prevent infection with the Covid-19 can be put under the category of "variations" of ordinary performances will be discussed with reference to the cases staged in Tokyo from February 2020 to May 2022. At the time of writing this article in August of 2022, Tokyo was still constrained by the infection prevention and control; therefore, the conclusion was a tentative inference, but this investigation is still worth completing. When forfeiting performing opportunities for a certain period of time, popular theatrical entertainments have to compensate the losses, which include both the theatre practitioners' incomes and audience's failure to enjoy performances. Consequently, live performances were encouraged to be recorded and digitalized. 2020 was regarded as the first year of streaming service, a created structural system where the digitalized performances can be not only watched on line, but also stored in its database for commercial reuse. In the meanwhile, digitalized performances are understood in a new perspective that considers it different from live performances. Also, among all kinds of offline projects created to replace live performances, some are thought as the "variations" of ordinary performances, while others still suggested what was necessary at a minimum in order to secure the on-site and one-time characteristics of popular entertainment on stage. This suggestion may enrich the future performance methods in the with-corona and post-corona eras.