本文以《李漁戲曲作品及理論研究》為題。以《閒情偶寄》及《笠翁傳奇十種》為主要探討對象，希冀以「創作真實」這一理念，討論李漁戲曲學的理論體系。擬完成以下五項目標： 一、整理近四百年來李漁研究成果：在李漁著作及前賢的研究成果，發現少有對其版本進行考證者，另一方面台灣學人的研究成果不容忽視，為此作回顧整理。 《閒情偶寄》對於劇本創作與劇場實踐，開啟中國古典戲劇理論的整體性論述。本文針對劇作者、劇本、導演創作、演員創作、觀者（讀者與觀眾）、評論者、劇場演出，這七者對於戲劇創作真實層面分別進行研究。 二、李漁的劇本創作與其理論的生成：就「劇本創作真實」探討李漁劇作及編劇理論之間的關係，並討論其劇本結構的形式要求。 三、李漁對導演、演員、劇場實踐與理論的建立：針對李漁導演的創作技法、演出修改本的實踐、家班演員培訓，以及劇場演出進行論述。 四、李漁對觀者（讀者與觀眾）到評論者的探討：從劇場演出的觀者「觀看意識」概念以及李漁提出教育觀眾之法，形成評論真實。 五、李漁劇本創作與劇場實踐的整體概念及理論體系：在劇本（文學）及劇場（演出）的系統研究中，詮釋上述七者的本質及其彼此關係的場域建立，將其關係構成圖譜，並據此說明李漁如何完成劇本與劇場創作。 透過筆者所創的圖譜，認為李漁的創作體系，涵蓋劇本系統與劇場系統，其中劇作者創作的劇本、導演創作、演員創作、觀者（讀者與觀眾）、評論者這五者間對於戲劇創作真實的層面，是有其全面性、體系化的成立，實屬開創中國戲曲史上的第一人。 This thesis is named "The Research of the Drama Scripts and Theories by Li Yu" discussing mainly through "The Occasional Notes with Leisure Motions" （《閒情偶寄》）and "The Ten Plays of Li Yu"（《笠翁傳奇十種》）.The author tries to systematize as completely as possible the theories of Li Yu into to the following five topics: 1. Sorting the recent 400- year studies about the compositions of Li Yu. 2. Surveying Li Yu's creations of manuscripts and the beginning of his theories. 3. Studying Li Yu’s practices to directors, actors, theater and theoretical establishment. 4. Points of view of Li Yu toward readers, audiences and comments. 5. The whole concept and theoretical system of Li Yu and the establishment of his manuscript of creations and theater practices. "The Occasional Notes with Leisure Motions" created the practice with theater to the manuscript which opened the whole sex treatise of the Chinese classic drama theories. This dissertation aims at the following seven levels of facts: play author, manuscript, creation of director, creation of actor, , reader, reviewer and comments on the performance of theater. These mentioned seven points reveals the true level to the drama carrying on the research respectively. To show the analysis towards Li Yu’s creations, the author composes a collection of atlases for the script and play systems. The five segments of drama creations-script, director, performer, audience, critics, work comprehensively in a systematic way regarding the reality in drama creations. As a matter of fact, Li Yu was a pioneer in the field of Chinese drama.
