說唱藝術中最重要的是「鼓子詞」與「諸宮調」兩種，他們都是以固定的曲調來說唱故事，是典型的中國表演藝術。根據《水滸全傳》載： …鑼聲響處，那白秀英，早上戲臺…那白秀英唱到務頭，這白玉喬按喝道…下來便是「襯交鼓兒院本」 宋代當時汴京與杭州分別是南北商業活動的地方，大多數的民俗技藝都興盛起來，瓦舍勾欄每天匯聚各式各樣的表演，在勾欄裡說唱諸般品調「每日有那一般打散，或是歌舞，或是吹彈或是歌唱…」這就是諸宮調說唱的大略面貌，正所謂「新妝巧艷畫雙娥，幔裹恆州透額羅」不難想那白秀英的舞台裝扮、道具…和靈活的舞蹈演出，措詞典雅舉止秀媚，唱腔更是低迴婉轉，集結了唱曲、說白與身段於一身；不但有了才子的創作腳本，還可以倚歌唱和，改變了原來村歌民調的小唱形式，進一步延伸說唱的表演，成就北雜劇的發展基礎。本文接續〈宋代歌唱講唱表演藝術之一〉藉由文獻的整理及文物觀察，從邏輯角度推論「鼓子詞」與「諸宮調」兩種的演唱的原型與表演藝術，且對於說唱藝術與中國戲曲的關係做深化的探討。

Based on the historical records, because of the business and social class development, all the performers, actors and musicians were gathered at the capital. At Bianjing and Hungzhong, the two main commercial cities of the north and south, there were prosperous folk arts activities—all the theaters and show places were filled with various shows. According to Dong Jing Meng Hua Lu (The Lives and Life in Hungzhong), Volume 8: 　　“In the beginning of that day, there were different shows in turns. We had pole climbing, ball stoke, skipping, story telling, singing, turtledove fighting, joking, clown playing, riddles, cross talk, and soft bon skills. More over, there were also funny fighting, drum play, magic show, and everything you can imagine.” 　　And, here is another recording in the Nan Ci Xu Lu. 　　At first, Nan Xi (The South Drama) was performed within folk songs that had neither music theory nor accurate tempo, and it just followed the songs of framers and female peddlers. It was like a kind of impromptu performance. 　　In my opinion, Nan Xi originally was just a kind of impromptu performance. Does it have something to do with the story-telling arts? However, why does it have many elements of description? Besides, the performance of Nan Xi combines other kinds of stage performance. Among these various influences, the most one is the story-telling arts. In this paper, I present my study on historical reference of the story-telling arts, as well as my observation on those relics and antique, and then to illustrate the development of its performing style and play form in a logical aspect. This paper presents a further discussion about the relationship between the story-telling arts and Chinese drama.