戲曲行會組織作為研究物件，通過康熙三十七年〈增建咽喉祠志〉、咸豐元年〈五聚堂紀德碑序〉、同治十三年〈重修開元宮廟碑記〉、光緒十年〈重修三聖神廟碑〉四塊碑刻文獻，考察上黨地區玉皇廟咽喉祠、澤州五聚堂、望城頭村開元宮、陵川縣三聖宮的歷史流變，同時結合萬曆以來流傳於此的賽書，以期瞭解從樂戶到戲曲藝人，從官班到民間職業班社，從祭祀演出到娛樂演出的轉變。在這個變化過程中，上黨賽社演劇顯然成為透視上黨戲曲文化的指標。本文以長治潞城市賈村賽會演劇作為個案，通過該村廟宇特點和戲臺設置，認為隨.上黨樂部身分的不斷變化，上黨戲曲藝術的所有遺存以及新生的演劇形態，都一一分布在賽社演出的舞臺之上。賈村的賽會演劇格局從一個側面透視出宋元以來中國戲曲藝術得以整合流變的軌跡，各種形態的戲曲樣式，各種歷史背景的演劇方式，都在賽社的結構中得到布局，也正借.這樣的方式，官方的禮樂教化通過戲劇，貫徹到普通民眾的生活中。

This article studies the extant theatre guilds of Shangdang,Shanxi. Based on texts inscribed on four steles, ranging from 1698 to 1884, I investigate the historical background of Yanhou Hall in Yuhuang Temple, Wuju Temple in Zezhou, Kaiyuan Temple in Wangchengtou Village, and Sansheng Temple in Lingchuan County. I also make use of the saishe texts circulated in this area that dated back to the Wanli reign (1573–1620) to inquire about the transitions from yuehu music households to theatrical artists, from government-sponsored troupes to professional troupes, from ritual performances to entertainment staging. In this process of transition, the Shangdang saishe opera became an obvious medium through which one perceives the Shangdang theatrical culture. The case examined in this article is the saishe performances in Jia Village in the city of Lucheng, Changzhi County. Analysis of the temple’s characteristicsand stage setting indicates that with the ever-shifting identity of theShangdang music households, the artistic features of Shangdang theatre—both traditional and newly created—can be discerned in many of the saishe performances. Patterns of the Jia Village theatre offer a perspectivefor us to understand Chinese theatrical arts’ process of integration sincethe Song and Yuan dynasties. Each of the various types of theatrical andperformance styles with different historical backgrounds takes up a placein the saishe structure. With the help of theatre, the orthodox didacticteachings endorsed by the sovereign get to penetrate the lives of averagepeople.