折子戲藝人們為細致刻畫人物形象而重組全本戲腳色,這種觀點似為學界常識。全本戲要求使用有限的腳色呈現大量人物與復雜劇情,而折子戲作為獨立的演出單位,比全本戲擁有更多的人力資源。對全本戲腳色使用進行調整是折子戲結構本身的要求,也是腳色體制轉變帶來的客觀要求。從《綴白裘》來看,藝人為提升演出效果,有些改編確實頗為精彩。但同時,由于藝人并不具有刻畫人物的自覺,很多改編在今天看來則是令人失望的。

It is scholarly consensus that characters are rearranged in productions highlighting single scenes for better characterization, while in productions of full-length plays, many characters and complicated plots are presented with limited types of operatic roles. Comparatively, more actors are also available for single-scene productions. Adjusting the characters is a consequence of the structure of single-scene productions, as well as the result of the role-type system. As is shown in Zhuibaiqiu, some performers have made applaudable adaptations to achieve better theatrical effects. However, since the performers were not consciously portraying the characters, some of their adaptations proved to be disappointing from the current point of view.