京劇《深淵》劇本主要討論：仇恨會不會困擾一個人？面對法律不能解決的問題該怎麼辦？對受害者而言，法律的執行是否具有救贖的功能？執行私法者，又真能因為復仇的行為而獲得救贖嗎？如不能得到救贖；到底是社會沒有救他？還是自己不願獲救？傳統戲曲對暴力受害者關注頗多，惡有惡報的結局讓受害者獲得救贖，但若加害者未受法律制裁，受害者的親人如何讓自己的心靈平復？一個戲劇工作者會如何面對這個問題？
此一創作以京劇劇本為劇本模式，以公案、法律事件為劇情架構，以現實、幻想交錯為呈現手法，以人物心理狀況描述為故事要件。除創作外，以論文學理論之分析，作為創作之依據。全劇共分七場，估計演出時間約在一百二十分鐘到一百五十分鐘之間。
創作報告部分共分四章：第一章說明創作與研究之動機、目的、方法及預期目標。第二章之重點為說明創作依循的學理基礎，包含京劇劇本之特色、釐清「元代公案劇」之定義、最後再分析「京劇《深淵》」劇本與元代公案劇有何異同？它又添加何種新的情節元素？及說明此作品企圖表達之觀點。第三章是針對於本劇題材的選擇，將其形式與內容、劇情、分場大綱說明。分析劇中的主要角色、扮演之行當、分配的理由等。最後針對劇中主要人物進行心理分析，說明他所作所為究之因果關係。第四章則將 劇本的成份，分為：劇本結構、角色行當配置、音樂佈局、曲白技術等四項，解釋戲劇的解釋表現技巧。
The major discussions of the contemporary Peking Opera Play Writing “Abyss” are as follows. How does grudge interfere the victim? How to manage an issue without a proper legal settlement? Can execution bring contentment to the victim? Can personal revenge comfort the devastation? If not, who should be liable for that? There are numerous examples of criminal cases in traditional Peking Opera. The justice ending comforts the souls of the victims. Without the lift of the righteousness, however, how should the families of the victim be released from the grief? Being a play writer, I am devoting my effort to bring up the awareness of these issues.
“Abyss” is written in “Peking Opera” format, structured through the legal case, presented by the interlacing of reality and imagination, based on the depiction of the major characters. In addition to my originality, I grounded this play writing on the foundation of theory of the thesis. There are totally seven scenes of the entire play, approximately 120-150 minutes.
Four chapters are included in this thesis. The first chapter states the motivation and research of this project, my writing style and my goal. The second chapter explains the literary value, as well as the special features of Peking Opera. The definition of “Gong-An Opera of Yuan Dynasty” will also be analyzed and compared with my contemporary Peking Opera “Abyss”. New factors have been added into my play writing to be distinctive from the traditional Peking Opera. The third chapter is focused on the selection of the topic and the summary of the content of each scene, the analysis of the characters, the categorizing of the character and the relationship in between. The last chapter includes the story line, development of characters, the arrangement of the music and the lines in details.
