冀東皮影戲做為中國影戲的重要支脈，在當下中國影戲格局中具有標誌性的地位。考察戲臺與影人體製的流變是觀照冀東皮影戲傳承和變遷的重要內容。冀東影人體製變化的過程是由大變小，再由小變大。隨著影人的變化，戲臺與燈光設備亦進行了一系列的革新和改良。影戲文化空間的壇變是導致上述變化的主要原圍。

就冀東影戲現狀而言，其本土化的藝術特質是十分清晰的。表現在影人造型、音樂唱腔和戲班的組織結構、經營管理、演出活動等諸多層面都在延

續著自己的傳統方式。目前的資深影戲藝人大都是六0、七0年代正規班社的演員，正是他們促進了民間影戲的革新和變化，他們是傳播影戲的核心力量。隨著現代強勢娛樂文化的衝擊以及觀眾、演藝人才的年齡斷層，影戲的生存空間在進一步萎縮。面對這些不利因素，藝人們在致力於尋求擺脫困境的有效途徑。

As an important school of Chinese shadow puppet theater, the
Jidong puppet theater occupies an emblematic status in the Chinese shadow
puppet scene. Survey of the evolution of the puppet theater stages and
forms of the puppets is important for comprehending the succession and
transition of the Jidong puppet theater. The size of Jidong puppets shifted
from large to small, then small to large. With the changes of the puppets, the
stages and lighting also underwent a series of renovations. Changes in the
setting of shadow puppet theater are the main reason that induced such
modifications.
Current situation of the Jidong shadow puppet theater evinces localized
artistic characteristics. No matter in puppet designs, musical styles, organization
of the troupes, management, or performances, traditional ways persist in
these aspects. Current senior puppeteers had been performers in professional
troupes during the 1960s and 70s. They, as the main force behind the
puppet theater development, promoted the renovations of the folk puppet
theater. With the impact from the dominant modern recreation culture and
the gaps between the age of both audiences and puppeteers, the chance of
survival for the shadow puppet theater is ever-shrinking. In face of such
unfavorable factors, the puppeteers are devoting themselves to searching for
an effective way to deal with the difficult situation.