随着《西厢记》的经典化，“西厢”这一空间也被明代众多的才子佳人戏化用，具有重要的叙事功能。以《六十种曲》为例，才子佳人戏中的“西厢”大多是女性的居所空间，受到封建礼教的严密监视，但在监管缺位的特殊情况下，则会成为男女跨越礼教藩篱而私会的情欲空间，因而“西厢”具有性别化、礼教化、流动性等特点。也由于“西厢”空间的这些特点，在才子佳人戏的叙事中，往往会形成男女双方两种视角来共同推进叙事，形成双线结构。而且“西厢”作为一种流动空间，见证了男女突破束缚、敢于追求自由恋爱的奇事奇情，也为丰满才子佳人们的形象做出了重要贡献。“西厢”出现在这些才子佳人戏中，实质上是对于《西厢记》的化用，它在与《西厢记》本身产生互动、丰富内容的同时，也对《西厢记》的传播和文学史地位做出了贡献。

With the classicalization of The Story of the Western Chamber, the space of “The Western Chamber” has been used by many romantic dramas in the Ming Dynasty, with important narrative functions. Taking Sixty Kinds of Plays as an example, the “Western Chamber” in the romantic dramas is mostly the residence of women, which is closely monitored by feudal ethics. But in the special case of supervision absent, it will become the erotic space for men and women to cross the barrier of ethics, so the “Western Chamber” has the characteristics of gender, ethics and mobility. Also because of these characteristics of the “Western Chamber” space, in the narrative of the romantic drama, two perspectives of men and women are often formed to promote the narrative together, forming a double-line structure. Moreover, as a floating space, the “Western Chamber” witnessed the miracle of men and women breaking the shackles and daring to pursue free love, and also made important contributions to the enrichment of the images of wits and beauties. The “Western Chamber” in these wits and beauties dramas is essentially the use of The Story of the Western Chamber. It interacts with The Story of the Western Chamber itself and enriches its content, and also contributes to the dissemination and literary history status of The Story of the Western Chamber.