傳統戲曲為了求新求變，跨界創新已是必然的趨勢。改編谷崎潤一郎小說《春琴抄》的越劇《春琴傳》乃應運而生。儘管中國和日本地緣接近，文化上相互影響，但其思想根本仍有極大的不同。因此，如何調整成能讓觀眾接受的型態，又不被譏為「四不像」；不失原著耽美風格，但仍是「中國的」越劇，對劇團將是一大考驗。本文將從三方面較析《春琴傳》與《春琴抄》於跨文化、跨形式的嘗試：一、情節結構與主題思想；二、人物形象；三、文字意象到表演程式的過渡。期能觀察越劇《春琴傳》如何對原著進行重塑與新詮，並呈現戲曲跨界改編的另一面向。

Cross-border innovation is an inevitable trend for traditional opera, and that's why the Shaohsing Opera which was adapted from Jun'ichirō Tanizaki's novel "A Portrait of Shunkin" be written. Although China and Japan have geopolitical proximity and cultural interaction, the fundamental idea is still a great difference. Therefore, how to adjust to make the audience accepted patterns, without being ridiculed as "grotesque"; slash style without losing the original, but still was "China's" Shaohsing opera, for theater will be a big test. To observe how the adapted Shaohsing opera conduct original remodeling and presents another cross-border oriented drama adaptation, this paper analyzes the cross-cultural forms of attempts of the adapted Shaohsing Opera from the plot, structure, theme, characters, and the text images to show the transition program.