本文旨在探討曾永義先生戲曲研究之學術淵源，及其如何從而轉化開創新方法與新論題。曾先生治戲曲，深受王國維、鄭騫、張敬三位先生之影響。於王國維先生，曾先生領會其由單元性分題研究，歸結於綜合性、整體性研究的治學方法，此一方法也成為曾先生學術研究上的不二法門。於鄭騫先生，曾先生踵繼其以樸學之法治戲曲的路向，以文獻考據為根柢，並接續鄭先生有關北曲格律與劇種體製規律的研究成果，使之更加完備。於張敬先生，曾先生接受其重視戲曲舞臺藝術的觀點，於戲曲批評兼重文學與舞臺之藝術表現。又發揚張先生的傳奇排場理論，以排場為戲曲之基本原理。在三位先生的基礎上，曾先生的研究方法與論題也有所轉化開創。其研究方法，以邏輯思考與名義辨析定考據文獻之正軌，以考古文物與調查訪問補正戲曲文獻之缺誤。其研究論題，提出戲曲劇種論、戲曲歌樂論與戲曲結構論。其新方法與新論題開拓了台灣戲曲研究的視野，帶動新的研究課題，在台灣戲曲學史上，曾先生實為承先啟後的重要關鍵。

This article aims to examine the origin of Tseng Yong-Yih’s scholarship on traditional Chinese operas and his transformation as well as innovation in the methodology and topics of the related research. Tseng’s study of traditional Chinese operas has been strongly influenced by Wang Guowei, Zheng Qian, and Zhang Jin. Inspired by Wang, the fundamental methodology that Tseng always adopts in his research is to begin from separate thematic units and conclude by comprehensive and integrated analyses. Following Zheng’s textual (puxue) focus, Tseng uses archival and textual study as his basis to continue and complement Zheng’s contribution to the study of the metric system and dramatic genres of Northern Qu. Inheriting Zhang’s point of view on Chinese operas as a performing art, Tseng emphasizes both literary and stage values of a work in his critical studies. In addition, Tseng also promotes Zhang’s theory of stagecraft (paichang) in chuanqi plays by making it the basic principle of traditional Chinese operas. Furthermore, Tseng’s research approach and topics, built upon the legacies of Wang, Zheng, and Zhang, are transformative as well as innovative. In terms of his approach to traditional Chinese opera study, Tseng applies logical thinking and definition (mingyi) analysis as the standards for archival and textual study and compensate the gaps and errors in pertinent literature with archaeological finds and interviews. As for the research topics, he has proposed related theories in dramatic genres, dramatic song (ge) and music (yue), and dramatic structure.To sum up, Tseng’s innovative research approach and topics have expanded the scope and subject matters of the Chinese opera study in Taiwan; he truly plays a crucial role connecting the past and future in the history of Taiwan Chinese opera study.