近年来，人文研究领域出现了明显的“物转向”，即将研究的关注点投向以往被忽略的“物”，如器物、建筑、动植物等。现阶段的研究主要关注小说、诗词中的“物”，对戏剧中，尤其是元杂剧中的“物”关注不足。区别于纯文本中的“物”，戏剧中的“物”能以其切实存在的真实性对在场观众产生影响，“物”的存在本身即一种叙事，作为舞台表演的一部分直接关涉戏剧最终的呈现效果。本文结合“物叙事”相关理论，分析元杂剧中的“物”发现，元杂剧中的“物”不仅作为叙事方式直接影响着戏剧的关目设置、线索安插与形象塑造，还在舞台表演中充当角色叙事的补充，影响着排场呈现与戏剧的节奏、气氛，并因其经典性为明清戏剧中“物”的使用提供了借鉴。

In recent years, there has been an obvious "things turn" in the direction of humanities research, that is, the focus of research is to focus on the components of "things" that have been neglected in the past, such as artifacts, buildings, animals and plants. The current research mainly focuses on the "thing" in novels and poems, but not enough on drama, especially in the Zaju of the Yuan Dynasty. Different from the "things" in the pure text, the "thing" in the drama can affect the audience with its real existence. The existence of "things" itself is a kind of narrative, and as a part of the stage performance, it directly relates to the final presentation effect of the drama. Based on the theory of "thing narrative", this paper analyzes "things" in Zaju of the Yuan Dynasty. It is found that "things" in Zaju of the Yuan Dynasty not only directly affects the plot setting of the key points, the placement of clues and the image building of the drama as a narrative mode, but also acts as a supplement to the role narrative in the stage performance, affecting the character shaping and the rhythm and atmosphere of the drama. And because of its classic nature, it provides reference for the use of "things" in the drama of Ming and Qing dynasties.