地方戲自清初形成發展至今已近三百年，這段期間內「亂彈」一詞一直如影相隨 ，不過，長期以來，「亂彈」此一戲曲名詞的概念、涵意、用法相當紛雜，向無嚴格規範， 常隨不同的歷史時期及不同的使用場合而各異，以致造成相關研究及引用上的困擾與錯誤發 生。有鑑於此，本文擬拉高論述視野，從戲曲聲腔發展史的角度關照，剖析亂彈於各個歷史 時期不同的定義與範圍，試解其身份之謎，紛陳其歷史面貌；繼之將全中國有「亂彈戲」別 名的刻種做一歸納整理，其可概分成北方演唱梆子腔的「梆子亂彈」、浙江演唱三五七及二 凡的「浙江亂彈」及南方演唱西皮、二黃的「皮黃亂彈」三大亂彈腔系，期使亂彈家族譜系 能較清晰完整地呈現；最後，論述身為亂彈戲家族一員的臺灣亂彈戲與大陸東海路豐西秦戲 、閩西漢劇及廣東漢劇間的關係，嘗試為其尋根溯源，正其身、釋其疑，以補臺灣戲曲史之 不足。

　　　　　It has been three hundred years since the local Chinese opera formed and devel-oped. In this period, the Chinese opera term, "Luan-tan"( 亂彈 ),is often used.However, for a long time, the definition and the usage of "Luan-tan" is very com-plicated. Its meaning changed with different historical periods and different situa-tions； it often makes confused in related studies. Therefore, this essay tries to analysis the different definition of "Luan-tan" in different periods from the aspect of history of Chinese music of opera development. A Key Method to clarify the relation of "Luan-tan" genealogy is to divide all op-era called "Luan-tan" in China into three systems： "Bang-zi-Luan-tan"( 「梆子亂彈」 ) in the north of China； "Zhe-jiang-Luan-tan"( 「浙江亂彈」 )in the province of Zhe-jiang( 浙江 )； 閑 "Pi-huang-Luan-tan" (「皮黃亂彈」 )in the south China. Finally, by discussing the relation between "Luan-tan" in Taiwan and traditional opera of Gung-dong (廣東 ) and Fu-jian (福建 ) province in Mainland China, like "Xi-gin-xi" (西秦戲 )，"Min -xi-han-ju"( 閩西漢劇 ),and "Gung-dong-han-ju"( 廣東 漢劇 )，I hope to realize more how th e"Luan-tan" in Taiwn begins and what it is , and can make up a deficiency for the history of Taiwan opera.