「緊拉慢唱」是板腔體戲曲中極具特色的唱腔音樂形式，它結合了一小節一拍或一小節兩拍的伴奏，以及散板唱腔，本文探討緊拉慢唱板式如何搭配演員的做表以刻畫角色。緊拉慢唱中兩種時間感的相互拉扯，適合襯托外弛內張的戲劇情境，規律的拍子跟我們的一些肉身經驗相似，因此具有強大的情緒感染力。在較長的緊拉慢唱段落中，伴奏經常會逐漸加速，營造情感高潮，緊拉慢唱也適合銜接其他板式以鋪敘劇中人的心理歷程。此外，緊拉慢唱還可以在降速之後，讓觀眾切換至審美視角，產生深刻的領悟。本文最後以京劇《徐策跑城》為例，說明麒派創始人周信芳如何善用緊拉慢唱及身段來表現情感層次。

The jin-la-man-chang (slow singing with fast accompaniment) is a distinct rhythmic mode of the ban-qiang genre in xiqu. The accompaniment plays one or two beats per bar, while the vocal line is unmeasured. This study explores how the jin-la-man-chang combines with actor's movements to depict the role. The two time-flows in jin-la-man-chang helps to effectively convey the outside-relaxed, inside-tensioned situations in the drama. The regular pulses embody our sensory experiences, thereby having a significant power of emotion contagion. In longer sections of the jin-la-man-chang, the accompaniment often accelerates to create an emotional climax. The jin-la-man-chang is also apt to combine with other rhythmic modes for depicting the role's psychological processes. Moreover, the slow section after the jin-la-man-chang may allow the audience to shift to an aesthetic perspective, obtaining insights into the drama. This study ends with an analysis of the Peking opera Xu Ce Runs Over the City Walls, in which Xin-Fan Chou (the founder of Qi school) used jin-la-man-chang and bodily movements to express multilayered emotion.