當代崑劇編劇張弘與著名小生石小梅夫妻，共同創造了多個當代崑劇傑出人物，《白羅衫》徐繼祖尤為代表。本論文以張弘《尋不到的尋找》一書所收自選八部崑劇劇作為研究主體，展開對於「崑劇創作」的研究，焦點集中於當代崑劇和其源頭明清傳奇之間的對話。以張弘為研究對象，一則因八部作品涵蓋了當代崑劇對傳奇改編的各種型態，足以與當代各類型崑劇創作相互比較。更深層的原因是張弘有清晰的創作意識，明確知道自己不只是長篇傳奇的剪裁者，他有意識的利用古典傳奇進行當代崑劇創作。傳奇在他的崑劇中並非戲中戲，他通過文本互涉、對話關係進行情緒深掘、思想轉折，進而塑造人物、創出新作。古典傳奇、古代編劇與當代張弘之間的三層對話關係，在當代崑劇劇壇特別值得重視。傳奇與崑劇之重疊與分野，學界已有辨析成果，但在創作領域仍嫌混淆。評論者常以傳奇審美標準求之於當代崑劇，創作者則又多忽視崑劇與傳奇密不可分的關係，直以板腔體編劇觀念進行崑劇創作，敘事結構與曲牌唱腔未能彰顯崑劇本質與文人氣韻。本論文從張弘切入，從崑劇與傳奇之對話關係彰顯張弘清晰的崑劇創作觀念，所欲研究者實不限於八部劇作。本論文隱性的研究範圍包羅甚廣，當代崑劇創作的現況實為本文之背景、參照、對比，甚至是本文寫作之動機。研究層次有三：（1）、張弘的崑劇創作意識以及與傳奇的對話關係，（2）、檢驗張弘創作理念是否有效落實，（3）、張弘在當代崑劇創作界的對照，甚至指引意義。

As a couple, the contemporary Kunqu Opera playwright Zhang Hong and the famous Xiaosheng (the young man's role) Shi Xiaomei have created many outstanding roles of contemporary Kunqu Opera, of which Xu Jizu of ＂Bailuoshan＂ (The white coat) is the most representative. This study conducted a thorough investigation of Zhang Hong's ＂Seek for the Unseen＂ (a collection of eight Kunqu Opera plays), to research Kunqu Opera writing, especially focusing on the dialogue between contemporary Kunqu Opera and Ming-Qing Chuanqi. This project has two reasons to put emphasis on Zhang Hong: one, his eight plays cover every type of adaptation from Chuanqi to Kunqu Opera; they could compare with all the other types of contemporary Kunqu Opera. Second, and more deeply, Zhang Hong has a clear writing consciousness. He knows exactly that he is not just a tailor of the extensive Chuanqi stories, but also uses Chuanqi to frame his Kunqu Opera writing. Chuanqi is not only ＂a play within a play＂ in his Kunqu Opera. He creates new plays and roles through intertextuality and interlocution, and digs out deeper emotions and refracted thoughts. The three-way conversation of traditional Chuanqi, traditional playwrights, and contemporary Zhang Hong is worth our respect and attention. The overlapping or division of Kunqu Opera and Ming-Qing Chuanqi has been analyzed in the academic field; however, treatment of the field of writing is still in chaos. Kunqu critics often turn to Chuanqi for aesthetic standards. Playwrights frequently ignore the close partnership of Kunqu Opera and Chuanqi; they just use the Banqiang style to write Kunqu Opera. But such a narrative structure along with qupai singing cannot highlight the basis of Kunqu Opera and its deep intellectual philosophy. This project is based on Zhang Hong, and then emphasizes his Kunqu Opera writing method from the dialogue between Kunqu Opera and Chuanqi. Furthermore, this study aims at his eight plays as well as at contemporary Kunqu Opera. The chaos of contemporary Kunqu Opera writing is the background, reference, term of comparison, and in addition, the motivation of this study. Three issues are related to this project: first, Zhang Hong's creative consciousness regarding Kunqu Opera, and his dialogue with Chuanqi; second, assessing the effectiveness of Zhang Hong's writing ideas; third, the significance of Zhang Hong in contemporary Kunqu Opera.