晚明士大夫祁彪佳雖留下為數甚多的觀劇記錄，並對戲曲表現出極大熱情，但卻未能見到他蓄養家班的相關史料，與一般好戲且隱居林下的文人雅士習尚有異。本文透過善本尺牘確立祁彪佳蓄有家班的事實，並且勾勒了祁氏家班組建乃至運作的概況。同時因祁彪佳個人對戲曲嗜好的消歇，將他定位為「有名無實」的家班主，以貼近他名義上擁有家班卻又與家班活動無涉的矛盾現象。本文最後，則因祁氏家班同時對外演出，提示我們重新檢視晚明家班相關史料，進一步肯定了家班雖為私人所有，但仍透過市場演出面對大眾。

Qi Biaojia, the scholar-official and Chinese opera enthusiast in the late Ming dynasty, left a considerable archive of performance reviews; however, no record shows that, as did most recluse literati engrossed in Chinese opera, he ever owned a private troupe. Through a thorough investigation of relevant manuscripts and letters, this paper argues that Qi had actually sponsored a private troupe, and reveals how the troupe was formed and run; it concludes that Qi, having gradually lost interest in Chinese opera, later became the figurehead owner of the troupe and was no longer involved in any of the troupe's activities. As Qi's private troupe performed to the public as well, it suggests that private troupes also undertook box office pressure, a fact that is learned by reexamining the historical materials of private troupes in late Ming dynasty.