早期戏曲作者不重视作品的署名权。明代嘉靖、隆庆以后,戏曲文体文人化程度加深,戏曲刊本开始出现署别号或真名的情况,说明当时的戏曲作者逐渐有了著作权意识。而宋元南戏在元明两代删改过程中,著作权发生了转移,如高明、丹丘先生(朱权)等在有意无意之中被认为是一些作品的作者。在戏曲文人化的过程中,文人戏曲家越来越重视戏曲作品的著作权,汤显祖是代表之一。汤显祖对改本的激烈态度促成了晚明戏曲著作权观念的发展。祁彪佳《远山堂曲品》分别著录原作与改本,实际是承认了作者和改家各自的著作权。 Early Chinese opera writers did not value the right of authorship. After the Jiajing and Longqing Dynasties in Ming Dynasty, the degree of genre of opera drama deepened, and the serial number or real name appeared in the periodicals of operas. This shows that the opera writers of the time gradually became aware of the copyright. During the Yuan and Ming dynasties, the copyright of the Song and Yuan dynasties shifted. For example, Gao Ming and Mr. Danqiu (Zhu Quan) were considered as the authors of some works in a conscious or unconscious manner. In the course of the opera literati, the literati opera writers pay more and more attention to the copyright of the opera works. Tang Xianzu is one of the representatives. Tang Xianzu’s fierce attitude towards the change of books contributed to the development of the concept of copyright in opera in the late Ming Dynasty. Qi Biao Jia Yuan Shan Tang Qu products were recorded original and change, the actual recognition of the author and change their own copyrights.