自漢代以來，揚州即是南北運輸之中轉站；明、清時期，更政治、經濟、軍事、交通之樞紐，也是戲曲文化之集散中心。由於鹽商?集，富甲天下，乃成為清高宗南巡例必駐蹕之地。為供巡典，備大戲，以邀恩寵，故有徐尚志等鹽務「首總」籌辦家班，徵集名優。不惜「踵事增華」置辨戲箱行頭，演出一劇，動輒費銀數十萬兩。凡成立七個崑腔班與一個亂彈班，此即「內班」。據本文之研究，自老徐班、張班、大洪班、程班至德音班等諸「內班」，應有一個先後成立之遞嬗性。且最晚在乾隆三十八年（1773）以前，這些內環多已設立。其中老徐班與大洪班成員素質最高。而唯一之亂彈內班－春臺班，則是自明中葉以來，江南第一個不是專演崑曲的家班，頗具象徵意義。這些內班演員普遍教育程度、社會地位均較一般演員為優，亦較用心於鑽研本門技藝，塑造腳色之表演特色與風格。因而形成師承流派，影響後世極為深遠。本文即是探討乾隆時期（1736-1795）揚州鹽商內班成立之背景、演出之排場、成員之分布、演出之劇目、戲箱之行頭等內涵，以見其於清中葉推動劇運興盛的貢獻。

　　　　　For centuries, Yangchow had been the most prosperous place in Mainland China. Emperor Kso Tsung of the Ching Dynasty, when went on his imperial tours to the south, had chosen Yangchow as his favorite lodging place. Wealthy salt businessmen entertained the emperor as luxurious as they could. The performance of local opera was a typical program. From then on, salt businessmen supported drama troupes regularly. They even established family troupes, recruited famous teachers, educated talented actors, and prepared gorgeous costume. Some of the performances even cost millions dollars each time. Generally, a family troupe was consisted with seven groups of Kun Chu (崑曲) and a group of musicians. The family troupes functioned as training schools of local opera. The members of family troupes usually had higher qualifications. In the period of Emperor Kao Tsung of the Ching Dynasty, the most excellent actors were developed by those family troupes: the senior Hues, the changes, the Hungs, and the Te-Yin family troupe. These troupes had devoted to develop specific skills and to create new styles. Their performance had great influence on later generations. In this paper, I explore the background that family troupes was supported by salt businessmen of Yangchow in the Ching Dynasty, the extravagance of their performance, as well as their programs and costume.