本研究以崑劇小生温宇航之表演藝術為核心，從個案研究出發，探討其藝術養成、 風格建構與跨文化實踐之發展脈絡，並據以思考當代崑曲之轉化與實踐方法。全文以「承習、轉化、實踐、開展」為分析主軸，結合「三化」（轉化、內化、在地化）與「三新」（新劇本、新型態、新意識）之理論框架，建構崑曲於當代發展的觀察視角。在養成階段，温宇航於北京戲曲學校崑劇班及北方崑曲劇院接受系統性訓練，透過南北崑曲兼融之學習，奠定紮實的程式規範與身體技藝，並經由長期臨摹與實踐，使表演由技入道，逐步形成具主體意識之藝術風格。其表演特色並非單一流派延續，而是多重師承經驗內化後的綜合展現。在海外發展階段，温宇航以足本《牡丹亭》為契機進入西方文化場域，透過演出與教學推動崑曲傳播，並在跨文化互動中由語言轉譯深化為概念轉譯，使不同文化背景觀眾得以理解崑曲審美邏輯。在臺灣階段，温宇航於國光劇團之發展展現其由演員延伸至藝術實踐者之角色轉變。透過京崑雙向建構、做表共融與跨域創新等策略，在維持劇種本質前提下調整表演語彙與創作結構，並投入人才培育與藝術推廣，使崑曲逐步形成在地化之群體發展模式。温宇航之藝術實踐不僅體現傳統戲曲之深厚底蘊，亦提供一種以實踐為導向、兼顧本質與創新的發展路徑，彰顯崑曲於當代文化語境中持續生成與轉化之可能性。;This study takes the performance art of Kunqu Xiao Sheng actor Wen Yu-Hang as its central focus. Adopting a case-study approach， it examines the developmental trajectory of his artistic training， stylistic formation， and cross-cultural practice， while reflecting on the transformation and practical methodologies of contemporary Kunqu. The analysis is structured around four stages: inheritance， transformation， practice， and expansion， and integrates the theoretical frameworks of the “three transformations” (transformation， internalization， and localization) and the “three innovations” (new scripts， new forms， and new consciousness)， thereby constructing an interpretive lens for understanding the development of Kunqu in the modern era. During his formative stage， Wen received systematic training at the Beijing Vocational College of Opera and Arts and the Northern Kunqu Opera Theatre. Through the integrated study of both Northern and Southern Kunqu traditions， he established a solid foundation in codified performance conventions and embodied techniques. Long-term imitation and stage practice enabled his artistry gradually forming a style marked by a strong sense of subjectivity. His performance is not a continuation of any single lineage， but rather a synthesized expression shaped by the internalization of multiple pedagogical influences. In his overseas development， Wen entered Western cultural contexts through full-length productions of The Peony Pavilion. Through performance and pedagogy， he actively promoted kunqu， advancing from linguistic translation toward conceptual translation in cross-cultural interactions， thereby enabling audiences from diverse backgrounds to grasp the aesthetic logic of Kunqu. In Taiwan， Wen’s work with the Guoguang Opera Company demonstrates his transition from performer to artistic practitioner. Through strategies such as the bidirectional construction of Peking opera and Kunqu， the integration of acting and expressive techniques， and interdisciplinary innovation， he adapts performative vocabularies and creative structures while preserving the essential nature of the genre. His engagement in talent cultivation and artistic outreach further contributes to the gradual formation of a localized， community-based model for kunqu development. Wen Yuhang’s artistic practice not only embodies the profound heritage of traditional Chinese theatre， but also offers a practice-oriented developmental path that balances essence and innovation， highlighting the ongoing potential for transformation and regeneration of Kunqu within contemporary cultural contexts.
