Nan-Xi(南戲),the earliest chinese large-scale-drama that rose in the 12th century, was formed on the base of various Xiao-Xi (small-scale-drama; 小戲),which included Tang-Xi-Nong (唐戲弄), song-Za-Ju(宋雜劇) and Bai-Xi(百戲) The similarities between Nan-Xi and opera comique which rose in the 17th century France are remarkable. This article aims to compare He-To (合頭) of Nan-Xi and vaudeville final, a monophonic ensemble in strophic form having a chorus repeat a refrain line, from an approach of formula aesthetics. Formula aesthetics 程式美典）stans together with epic aesthetics (敘事美典) and lyric aesthetics (抒情美典) as the three aesthetics of Chinese Opera. The performing arts which Nan-Xi inherited from Xiao-Xi were re-formulated under the epic aesthetics. He-To, which often served to be intervened with a few dances in Xiao-Xi, became a major medium in Nan-Xi to display the states of characters' mind after a dramatic event, and the closing ensemble of the final scene of Nan-Xi. A similar structure and functions can also be found in vaudeville final.