臺灣北管（亂彈）戲與京劇的交流，從日治時代以來即不絕如縷，然而大部份的情形都是北管藝人學習京劇的身段、音樂、劇目，京劇演員學習北管的例子十分稀少。2005年，由專業青年京劇演員所組成的「逍遙劇場」執行了一項「北管表演藝術傳習計畫」，此計畫中主要學習了：(1) 出身於日治時期亂彈童伶的一些「私房戲齣」、(2) 爲演員量身訂作的改編戲《虹霓關》，這樣的學習內容，一方面試圖追尋北管戲在全盛時期的演出特色，一方面也期望以劇本、身段的改革，爲北管戲的新生創造契機。在京劇演員學習北管戲的過程中，許多有關劇種風格的問題一一浮現，成爲值得探討的議題。古老的北管戲與青年京劇演員的這次碰撞，所激發出的光芒照亮了自身，讓人重新體悟傳統民間戲曲的魅力，也爲日後北管戲的傳承與改良提供了寶貴的經驗。

The communication and interaction between Taiwanese Beiguan opera and Beijing opera date back to the period of Japanese colonization. Many performers of Beiguan opera have learned acting techniques, music, and repertoire of Beijing opera, whereas very few performers of Beijing opera have learned Beiguan opera. In 2005, an impartation project for Beiguan opera was carried out by Xiao-Yiao theater, which comprises professional young actors of Beijing opera. These actors learned (1) special repertoire conserved by elder actors trained in the period of Japanese colonization, and (2) an extensively revised version of a Beiguan opera "Hong-Ni-Guan". The aims were to capture the performing arts of Beiguan opera at its zenith, and to create an opportunity for its rebirth through a reform of acting techniques and librettos. In the process of learning, however, many problems of performing styles emerged, which are discussed in the present study. The collision of Beiguan opera and Beijing opera actors shed new light on the beauty of the traditional folk opera. This impartation project provided valuable experience on the transmission and reform of Beiguan opera.