Since the 20th century, the artistic forms of Western opera have derived their own localized innovations and transformations in the social environment of both sides of the Taiwan Strait, and have subsequently produced localized "differences". There have emerged distinctive development paths, artistic methods, and different styles of opera on both sides of the Taiwan Strait. There are similarities and similarities in cultural and artistic styles, as well as diverse styles generated by different social environments. In different social forms, the development of opera art on both sides of the Taiwan Strait not only differs in the values, ideology, and musical techniques expressed in the theme, but also reflects the similarities and differences in the thinking structure and understanding of opera creators on the localization and local development of opera on both sides of the Taiwan Strait.
Starting from the phenomenon, this study takes four contemporary operas on both sides of the Taiwan Straits as research cases, and will explore the characterization of opera creators on both sides of the Straits in their works adapted from historical themes through the theory of Intertextuality and the action element model, using text analysis, musical form analysis and comparative analysis, and explore the commonness and individuality of operas on both sides of the Straits in the process of characterization creation, In order to grasp the development direction of opera across the Taiwan Strait, enrich the theoretical foundation of Chinese opera, expand the research perspective of Chinese opera, and promote more possibilities for Chinese opera research.