由「競演全本」到「摘段成折子」，可以視為傳奇自明中葉到清乾隆年間的一條主要發展線索。到目前為止，「折子戲」不僅是公認足以凝聚崑劇表演精華的代表典範，更被當作近代崑劇演出型態中最正宗的一類。本文則試圖通過具體的資料，勾畫出「從折子到全本」這樣一條新的線索，透過「折子→串折子成全本→整理傳奇成全本→改編傳奇成全本→新編全本」這個過程的架構，不僅可清楚呈現民國以來崑劇演出的另一種方式，更可從中探尋出近代崑劇藝術工作者在「繼承傳統」之外的創發精神。 Between the middle of the Ming Dynasty and that of the Ching Dynasty, it was the main current within the tradition of Chuan-chi (the Romance play) to perform only one or two acts of a play instead of the complete one. Insofar as this particular literary phenomenon is concerned, che-tzu hsi (one-act per-forming) has become the dominant feature in the Kun theater-performing tradition. By offering certain standards that should be kept up, che-tzu hsi has been seen by contemporary playwrights as the very typical example of the art of Kun theater-performing. The present study, by contrast, will focus on a new development in Kun theater-performing since the founding of the Republic. By reviewing and examining the extant materials, it is clear that the development of Kun theater-performing since 1911 appears to have followed the"from one-act-performing to complete- performing"pattern. That is, it is through"certain acts of a play (which might be incomplete already)"to"editing certain extant though incomplete acts to make a complete play"to"revising a complete play"and, finally, to"adapting and even rewriting a 'romance' play". It can be said that there arises a new form of performing Kun theater since 1911, and that contemporary playwrights possesses powers of invention through their connection with classical literary tradition. I hope, therefore, that this research will bring a new light on the study of Kun theater-performing.