本文对朱权的戏曲创作和理论作了较全面的描述和评价，并提出了若干新见。第一部分评析其戏曲创作，认为其创作分为前后两期，前期创作宗主儒家观念，后期创作弘扬道家教义，但也流露出对现实的不满情绪；现存《卓文君私奔相如》和《冲漠子》既分别代表了前后期不同的创作取向，在思想与艺术上也各具有一定价值。第三部分审视其《太和正音谱》，认为它在中国戏剧学史上的贡献有四：一是戏曲观念的鼎新，二是理论范畴的创设，三是系统批评的展开，四是理论形态的确立。 This article makes a more comprehensive description and evaluation of Zhu Quan’s opera creation and theory, and puts forward some new ideas. The first part analyzes its creation of opera, which is divided into two periods. The pre-creation of the concept of Confucianism is the creation of the sovereign, and the later creation promotes the Taoist doctrine, but it also shows the dissatisfaction with the reality. The extant “Zhuo Wenjun elope with phase” and “ Son ”both represent the different orientation of creation in the earlier period and the later period, and also have certain value in thought and art. The third part examines its “Taihezhengpu spectrum”, and holds that it has made four contributions in the history of Chinese drama: first, the new ideas of opera; second, the creation of theoretical categories; third, systematic criticism; fourth, theoretical forms establish.