本文係以《歌仔戲劇本整理計畫報告書》（臺北：中華民俗藝術基金會，民國八十五出版）中的十三個包公戲劇本為對象，就其題材來源、劇情大要及包公角色形象方面加以探討。這些劇本多根據明清小說戲曲改編，或自其他劇種移植，極少自創，卻加入了不少時代因素，寓教於樂。包公在歌仔戲中的角色屬淨行，塗黑臉。大多數劇本都表現包公智慧、公正、愛國等正面形象；但也有劇本似乎是有意嘲諷包公。

This paper is concerned with the scripts of Tawianese Opera about Bao Gong. The author had drawn thirteen such scripts from The Report of the Project of the Arrangement of the Scripts of Taiwanese Opera, which was published by the Chinese Folk Arts Foundation in 1995, Taipei. The author has done some research into those scripts about thematic resources content synopses, and various images concerning the role of Bao Gong. Being little creative, those scripts are mostly adapted from the novels or dramas of Ming or Qing Dynasty or are just transplanted from other kinds of Chinese local operas. However, contemporary incidents have been included in those scripts of Taiwanese Operas to augment their contents and reside teaching in entertainment. The characters of Bao Gong in those scripts have played the role of Jing－a striking feature of Chinese stage technique by the practice of painting the face and forehead with a bold and colorful pattern. In the case of Bao Gong, his face was painted almost black. In most dramas of Bao Gong, the roles of Bao Gong have been characterized with such a positive image as wisdom, justice and patriotism whereas there are few otherwise.