本文探究十八世紀末形成初期的京劇，二十世紀初期在上海劇院演出的京劇，還有二十世紀中葉在臺灣演出的北管戲，即使同屬清初「花部」「亂彈聲腔劇種」，但歷經時代、環境、對象的轉變後，是否在文本上發生變化。 以《曲本》、《戲考》、北管劇本中六個相同 的劇目作為比較對象，在分析內容後，就情節的鋪陳、滑稽手法製造的異同提出考察，並進步探討文本與演出社會的關係。 研究發現：亂彈戲曲以家庭問題為討論重點，「國家」或「私己」的討論較少。《曲本》已具備完整的劇本架構，在商業劇場中發展的京劇，編劇手法更為純熟，而北管劇本承襲清初亂彈戲中重複、尊重鬼神的特質，並發展出任意調笑、戲謔的風格，與「套語」的運用程式。

In the Qing Dynasty, “Flower Drama” (Huabu) is opposed to “Elegant Drama” (Yabu) “Elegant Drama’ means Kunqu. The numerous others musical styles dramas were put into the category of “Flower Drama,” also under the name of “Luantan,” including the future Pekin Opera, Beiguan drama in Taiwan, and many provincial dramas in China. This essay compare three “Luantan” dramas collections to observe the changes in the dramaturgy owing to the differences of the spectators, theatres, and the time. The first one is “Dramas Collection in Mongol’s Che Princely Mansion of the Qing Dynasty” (Ching Mongu Chewanfu Cang Chuben) which includes many “Luantan styles” dramas collected in the end of 18th century before the Pekin Opera was formally recognized to be the official drama. The second is “A Collection of Peking Opera Texts” (Xikao) that contains plenty of texts of Pekin Opera played mostly in Shanghai during 1913-1924. The third consists of some Beiguan drama texts, which have collected since 1960s by Luodong Fulanshe, a Beiguan community theatre. Beiguan dram was probably performed in the beginning of the 19th century. Beiguan music and drama have been very popular all over Taiwan. By analysis these texts form three collections, we can get some conclusions: 1.As the primary form of Pekin Opera, “Dramas Collection in Mongol’s Che Princely Mansion of the Qing Dynasty” have owned the basic and complete plots in its texts. 2.To be performed in some commercial treasures, the texts of Xikao have been simplified, and some surrealistic scenes removed. 3.Beiguan drama not only inherits plots from the primary Luantan drama, and continues to include some surrealistic scenes, but has also developed its own characteristics, like more erotica dialogues and some “clichés” (stereotypes) in general use.