This article aims to examine the origin of Tseng Yong-Yih's scholarship on traditional Chinese operas and his transformation as well as innovation in the methodology and topics of the related research. Tseng's study of traditional Chinese operas has been strongly influenced by Wang Guowei, Zheng Qian, and Zhang Jin. Inspired by Wang, the fundamental methodology that Tseng always adopts in his research is to begin from separate thematic units and conclude by comprehensive and integrated analyses. Following Zheng's textual (puxue) focus, Tseng uses archival and textual study as his basis to continue and complement Zheng's contribution to the study of the metric system and dramatic genres of Northern Qu. Inheriting Zhang's point of view on Chinese operas as a performing art, Tseng emphasizes both literary and stage values of a work in his critical studies. In addition, Tseng also promotes Zhang's theory of stagecraft (paichang) in chuanqi plays by making it the basic principle of traditional Chinese operas. Furthermore, Tseng's research approach and topics, built upon the legacies of Wang, Zheng, and Zhang, are transformative as well as innovative. In terms of his approach to traditional Chinese opera study, Tseng applies logical thinking and definition (mingyi) analysis as the standards for archival and textual study and compensate the gaps and errors in pertinent literature with archaeological finds and interviews. As for the research topics, he has proposed related theories in dramatic genres, dramatic song (ge) and music (yue), and dramatic structure. To sum up, Tseng's innovative research approach and topics have expanded the scope and subject matters of the Chinese opera study in Taiwan; he truly plays a crucial role connecting the past and future in the history of Taiwan Chinese opera study.