Beijing Opera has epitomized the art of Chinese dramas. Though having gone through times while experiencing decades of glory and decadence, Beijing Opera still passes on to the next generation all along. The main reason is that numerous people have devoted in Beijing Opera and shouldered the task of heritance. Amongst them, Tsao Fuyong, being the very first generation that passes on Beijing Opera in Taiwan, represents the significance of old time art developing in a new era. Tsao’s art career has lasted for more than 50 years, throughout which he underwent the decline and revival of Beijing Opera. He grew mature in the aura in which Beijing Opera was ranked as National Art. However, once Beijing Opera extricated itself from National Art, it had to face challenges from the new era. As the leader of Fu Hsing Opera Troupe, Tsao Fuyong took traditional Beijing Opera as his own duty, constantly pursuing its development in the new era while dedicating in passing on the tradition to make this genre of art able to last. Nevertheless, due to Tsao’s all-time low profile, his contribution hasn’t been widely acknowledged. 　　Xiaosheng（小生） is a unique role in the art of Chinese dramas, yet it never receives the popularity as laosheng or danjiao does. Since the late Qing Dynasty and the early Republic of China, it has been common for Beijing Opera troupes to lack xiaosheng. During the Cultural Revolution, xiaosheng in Taiwan had a critical place in continuing the line of role. Standing for the inheritor of xiaosheng in Beijing Opera, Tsao’s importance could never be overlooked, not to mention that it’s rare and commendable for him to be the chief of a public drama troupe as a xioasheng. 　　The author adopts the method of oral history by interviewing Tsao Fuyong and several related objects, trying to note down Tsao’s performances and his attitude towards dealing with people or situations. Articles from newspapers and journals are used in addition, hoping to present objectively Tsao’s perspectives upon performing arts and Beijing Opera in China. Finally, Tsao’s performance and contribution in all aspects will be discussed and elaborated.