本文試圖分析二十世紀前半期的中國戲劇對於西方「佳構劇」概念的引介與接受，以及佳構劇作品在現代中國的傳播、翻譯與改編，尤其著重法國劇作家司克里布及其作品如何進入中國現代戲劇視野，成為啟發中國現代戲劇發展的要素之一。本文首先釐清「佳構劇」的定義，進而藉由二十世紀前半期出版的中外文學著述，回顧並檢視時人對於法國佳構劇與司克里布的認知和理解。為實際了解佳構劇本在現代中國所產生的影響，本文以司克里布原著《雅德莉安．樂可娥》為例，討論該劇在二十世紀前半期的兩個中文譯本：一是包天笑、徐卓呆根據長田秋濤日譯本轉譯為中文的《怨》（1912年出版）；一是李健吾直接譯自法語，但加入中國戲曲元素而改編的《雲彩霞》（1947年出版）。通過這兩個翻譯與改編版本，可以看出佳構劇在現代中國曲折的傳播與接受過程，同時也說明二十世紀前半期的跨文化戲劇實踐是如何將西方佳構劇的編劇手法與中國戲劇傳統結合，摒棄五四以來將中國傳統戲劇與西方現代戲劇一分為二的主流思潮，進而為中國現代戲劇發展提供一條可行的線索

This paper aims to analyze the introduction of the notion ＂well-made play＂ to Chinese theatre, its reception during the first half of the 20th century, and the transmission, the translation, and the adaptation of well-made plays in modern China. The focus is on French playwright Eugène Scribe's works: how Chinese readers have known and appreciated the playwright and his works and how his works have inspired Chinese writers and become one essential element in the promotion and development of modern Chinese theatre. I first clarify the definition of the ＂well-made play＂ in Chinese language. By reading carefully Chinese and Western literary works of the Republican period, I examine how Chinese readers and audience at that time have understood Eugène Scribe and the conception of French well-made play. My discussion is on two translations of Scribe's play Adrienne Lecouvreur published in the first half of the 20th century. The first one is Yuan 'resentment' (1912), a Chinese translation of Osada Shūtō's Japanese translation by Bao Tian-Xiao and Xu Zhuo-Dai. The second one is Yun Cai-Xia (1947), a translation and adaption of the French original by Li Jian-Wu, with elements of traditional Chinese opera added. The two works demonstrate that western well-made play is transferred to modern Chinese theatre through an indirect approach. The adaptation of Li Jian-Wu further suggests an innovative transcultural practice in modern Chinese theatre that has often been ignored. In the Yun Cai-Xia, the dramatic effect of well-made play is perfectly integrated into the story of Chinese opera performers. Because of it, the Chinese traditional drama is no longer the complete opposite of the Western modern drama in the opinion of May-Fourth writers. In fact, this successful adaptation of Li announces the end of their argument and provides a possible approach for the modernization of Chinese theatre in the 20th century