本研究共分四大段落論述，希望藉由中國劇場形式、觀念與戲曲表演的成形關係，透過已發表之論說為根基，首段以戲曲表演起源是由小戲到大戲成型的觀念，指引出中國戲曲劇場的成立可從西漢百戲演出時就已存在，擺脫宋代勾欄為中國劇場形式正式起源的論述，並提出室内劇場與家宅演劇之可能關係。第二大段透過大戲成形與歷代演出劇場的歸納解說，說明劇場與戲曲表演所呈現出的關係以及在舞臺形制上所涵蓋的意義。第三大段點明近代劇場形式在西方鏡框式舞臺傳入中國初期時，就曾發生過舞臺技術與戲曲表演本質之衝突與分析，時至當代卻依然接受西方舞臺幾近統一形式的現況。第四段結語，則提出舞臺形制與技術需為戲曲表演服務之說，希望當代戲曲表演演出時不要再有重蹈覆轍的情況出現。

My study was separated four sections. To hope by the formative relations between Chinese theatre form, concept with performance of Chinese tradition Opera, to be based by publishing thesis. The first section talked about concept the performance of Chinese tradition opera was originated from Grade play to Small play, pointed out the theater of Chinese tradition Opera had been existed in the Western Han Dynasty of Entertaining Acrobatics play(百戲), to separate that theater form of Chinese tradition Opera was originated by Kou Lan theater of Son Dynasty(勾欄). And advocate the possible relation between the indoor theater and home theater. The second section by sum up of Grade play formation and whole dynasty theaters to illustrate with meaning of the relations which between theater and performance of Chinese tradition Opera on stage formation. The third section pointed out the conflict and analysis between stage technic and the element of Chinese tradition Opera performance which had happened when proscenium stage into early Chinese modern time but right now we still accept western stage and almost to be united in the present situation. The fourth section was a conclusion. My study pointed out that stage formation and technic should service for performance of Chinese tradition Opera, that wish do not happen again when Chinese tradition Opera by played in the present time.