戲曲表演批評在戲曲理論各門類中出現極早，取代就有若干記載，但是發展緩慢，到清代才大盛，進入二十世紀後，運用了田野調查等人類學方法，開拓了戲曲表演及表演批評的新領域。有之撰寫動機，係由西方歌劇表演版本觸發，嘗試架構「戲曲表演版本」研究的可能性，上溯歷來至今戲曲表演品評的模式，並試圖標示戲曲表演版本的研究方向。從戲曲表演版本研究中，可瞭解演員對同一劇目的個人詮釋及表演藝術進程；透過歷時性的縱向探索，更可以勾勒出各改本的表演版本輪廓；而藉由橫向的跨劇種對照，則可以描繪彼此間浸潤影響的圖像。另外，建立全面且系統化的戲曲表演研究體系，是當代戲曲表演研究中，亟待開發與整合的領域。

The critics of Xi-qu performance began early but developed slowly. According to the literal notes of Yuan Dynasty, we know there were the ones who had the concepts of Xi-qu performance critics. Until Qing Dynasty, the critics of Xi-qu performance became one of main streams in the Xi-qu theory. Because of new methods and fieldworks, the Xi-qu performance critics in 20th century devleped prosperously than before. The study of performance version is an important aspects in contemporary opera research. Great singers had created many classical models, Marion Callas’ Norma in “Norma”, Mirella Freni’s Mimi in “La Boheme”, in opera performance these classical models gave the inspiration to inquire into the development of Xi-qu performance version. We could make clear systems of the critics of Xi-qu performance and the versions of Xi-qu performance, explore the relations of performance styles, performance schools and performance versions based on actor performances and plays. The Xi-qu performance version is the cell of the whole performance. Via the study of Xi-qu performance versions, we could recognize the interpretations and the progresses of the actors, tell the different styles of actors, figure out the different demands to Xi-qu performance from actors, playwrights and audience. Besides, we could also compare with the similar performance versions to reveal the influence flows among different kinds of Xi-qu. Nowadays we could make the Xi-qu performance the documentary text and build an abundant database via record technique, it will give much more help to construct the complete system of Xi-qu performance version.