The ”Shihua” 拾畫 and ”Jiaohua” 叫畫 in the Kun opera Mudan ting 牡丹亭 are both regarded as independent zhezi (opera-drama sketches) 折子 plays. The two plays are not only graceful and exquisite but also belong to highly difficult jinsheng 巾生 (scholar) plays. This paper will first compare the differences between the original and adapted versions of ”Shihua” and ”Wanzhen” 玩真. Secondly, the author observes the transformative process of stage performance by exploring selected Northern operas and Southern plays, texts for stage performance , and shenduan pu 身段譜 (notes of body language) in Ming and Qing dynasties. In addition, the differences of gongchi pu 工尺譜 (music scores) will be examined in order to shed light on the internal meanings of the scores composed by Qing musical artists Finally, the paper will analyze the differences among the stage performances on ”Shihua” and ”Wanzhen” by modern actors/actresses, including Yu Zhenfei 俞振飛(1902-1993), Zhou Chuanying 周傳瑛 (1912-1988), Wang Shiyu 汪世瑜(1941-), Yue Meiti 岳美提 (1941-), and Shih Xiaomei 石小梅 (1949-). In view of the conspicuous lack of discussion on ”Shihua” and ”Jiaohua” in current studies of Tang Xianzu's Mudan ting, the paper, by way of examining ”Shihua” and ”Jiaohua,” will make a special contribution to our understanding of the historical process through which zhezi plays in the Kun opera had consolidated from original texts.