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日本的中国戏曲研究史既不同于中国学者对本国戏曲史的研究，也不同于日本对西洋各国文学的研究。自大正初开始，盐谷温等以“汉文训读”展开了对中国戏曲的研究；这种传统二战前被京都学派所突破，吉川幸次郎等人依据语言史的观点，建立了一种共时研究的新格局；而战后以田仲一成为代表的戏曲研究则从各种版本所反映的各个时代的观众是如何“接受”戏曲的角度来观察酿出了种种戏剧活动的社会生态，从而建立了戏剧史研究的新框架。
The study history of Chinese traditional opera in Japan is different from that of Chinese scholars in the study of the history of Chinese opera as well as in Japan’s study of the literature of various Western countries. Since its inception, Salt Valley temperature and other “Chinese language training,” launched a study of Chinese opera; this tradition prior to World War II by the Kyoto school breakthrough, Yoshikawa Yukiro and others based on the history of language history, established a synchronic And the new pattern of the study. The study of drama, which was represented by Tian Zhongyi after the war, established the social ecology that produced all kinds of drama activities from the perspectives of audiences of various times, which were reflected in various editions, A new framework for the study of drama history.