1942 年末，上海接連上演《雲彩霞》與《秋海棠》兩部以京劇伶人為主題的 話劇。與此同時，身在重慶的吳祖光也於同年創作以京劇伶人為主角的《風雪夜 歸人》，並於隔年年初上演。三部主題相近的話劇來源卻截然不同，《雲彩霞》 為法國戲劇改譯之作，《秋海棠》改編自同名小說，《風雪夜歸人》則為原創， 三部劇作的來源正好反映當時劇本主要的創作方式。改編所本的原版為劇作情節 主線定調，淪陷後的上海與陪都重慶的環境差異，也影響作品的風格發展，終而 促使三部話劇即便主題相似，內容形式卻完全不同。本文主要探討抗戰期間，不同地區的劇作家為何同時選定以京劇伶人為話劇主題，劇中又如何以愛情故事反映戰爭中的社會，以及分析當時觀眾對於京劇與話劇結合之劇作的看法。

At the end of 1942, two plays about Peking opera actors,“Yun Cai Xia”and “Qiu Hai Tang”, were staged in theaters in Shanghai. In the same year, Wu Zu-Guang wrote the play“Return on a Snowy Night”, also starring Peking opera actors., and performed at the beginning of the next year. Although these three plays have similar topics, their origins are totally different.“Yun Cai Xia”was adapted from a French play, while“Qiu Hai Tang”was adapted from a novel of the same name, and“Return on a Snowy Night”was an original story. The origins of these three plays demonstrates the three main different ways to write a play script at the time. The original versions of “Yun Cai Xia”and“Qiu Hai Tang”determined the story line of the adaptations. The distinctions between occupied Shanghai and the temporary Chinese capital Chongqing also influenced the style of the plays. This caused the dissimilarities and variations between the three plays despite their having similar topics. The purpose of this article was to investigate why, during the War of Resistance, playwrights from different places in China chose Peking opera actors as the focus of their plays. Another aim was to find out how the love stories in these plays reflected society during the war. Finally, we analyze contemporary audiences’opinions of the new style of plays combining Peking opera and western drama.