本文旨在論述學術意義上、體製劇種定義上的「南戲」，因為經歷「北曲化」、「文士化」與「崑曲化」的洗禮，體製規律層層蛻變，最後演化而為體製規律有別的「傳奇」。 曾師永義提出南戲「三化說」，本文據此為研究點，進一步探究三化現象的起因與結果。「北曲化」的時空背景是元代統一大江南北，促成南戲北劇的交會碰撞。而南戲進入「文士化」的歷史軌跡，從元末明初零星個案，到正德嘉靖年後南戲作家湧現的轉折點，筆者認為是正德末年武宗南巡欽點南戲南曲作家，抬升了南戲的藝術地位，環太湖流域的蘇州、南京、上海、浙江等地的文人相繼從事南戲創作，帶動了太湖流域的文人投入南戲寫作，繼而迎來了嘉靖萬曆年間吳中曲壇的盛況，也正是孕育崑山水磨調的最佳溫床。 「北曲化」的體製演進在於北曲宮調、曲牌、聯套和音樂的挹注，此時南戲尚未採用北曲的押韻，而是根據吳語音系來「一韻到底」。「文士化」意味著南戲作家身份的轉變，文人書寫南戲的同時將個人的思想情感投射到戲曲文本，直接且大力的提昇了南戲的文學層面，因此題材內容、曲文修辭明顯雅化，也促使「文士化關目」和「腳色分化」的體製演進。「崑曲化」圍繞在崑山水磨調的唱法改良，落實在音律論和演唱論兩大區塊，促使南戲體製有五項變革：曲牌八律的成熟、聯套套式的定型、排場共性的形塑、南戲韻叶官話化及一字三節的咬字行腔，而劇本體製的「開場」與「段落」也在萬曆年後的出版品中趨向整飭。 總結上述，「體製劇種」定義上的「傳奇」是以南戲為母體，與北劇之曲牌、韻協交化之後蛻變而成的南北混血兒，這個混血兒的體製規律，和宋元明南戲已經具備關鍵性的差異，所以就學術意義而言，「南戲」與「傳奇」確為兩種「體製劇種」。 / The purpose of this dissertation is to discuss the "Nanxi" based on definition of “Tizhi Juzhong” and the academic sense. As it undergoes the baptism of being affected by “Beiqu", "Wenshi," and "Kunqu", the systematic rules of Nanxi are transformed as well as metamorphosed and eventually evolve into distinct rules other than "Chuanqi". Given "Three Elements" of Nanxi that professor Yong-Yih Tseng proposed, the dissertation further explores the causes and consequences of the “Three Elements”. The historical background of "being affected by Beiqu" is the collision and interaction between the unification of both north and south China in the Yuan Dynasty. From the sporadic cases in the late Yuan Dynasty and the early Ming Dynasty to the turning point where Nanxi writers presented and appeared after the Zhengde to Jiajing years, the author believes that Wuzong’s south tour handpicking Nanxi writers in the late Zhangde year uplifted the art of Nanxi status. As afterwards, the literati in Suzhou, Nanjing, Shanghai, Zhejiang and other places around the Taihu Lake Basin have been engaged in the creation of Nanxi, led the literati in the Taihu Lake Basin into Nanxi writing, and then made Wuzhong area a grand occasion of Chinese drama in the Wanli years, also bred Kunshan Shuimo Tune the best hotbed. The systematic evolution of "Being affected by Beiqu" lies in Beiqu GongTiao, QuPai, connection, and music. At this time, Nanxi has not yet adopted the rhyme of Beiqu, but has "a rhyme to finish" based on Wu's phonology. The "being affected by Wenshi" means the transformation of the identity of the southern playwrights. When the writers wrote the Nanxi, they projected the individual's thoughts and emotions into the texts and scripts and promoted the literary level of the Nanxi directly and vigorously. As a result, the systematic evolution prompted literary “Guanmu" and "differentiation of roles". The "Being affected by Kunqu" improves singing in Kunshan Shuimo Tune. It realized in the theory of temperament and singing and urged five changes to happen in the Nanxi system: the maturity of the tunes, the stereotyping of conjoined sets, the official rhyme of the Nanxi and the singing according to three syllables. In addition, the "opening" and "passage" of the script system were midway of finalizing in the publications after Wanliye years. To sum up, the "Chuanqi" by definition of "Tizhi Juzhong" is a mixture of Nanxi and Beiju, transformed and metamorphosed from the Nanxi as well as QuPai of the Beiqu. The mixture system varies from the counterparts of Song, Yuan and Ming dynasties. Therefore, in terms of academic significance, "Nanxi" and "Chuanqi" are indeed two different kinds of "Tizhi Juzhong"