元杂剧《汉高祖濯足气英布》有《元刊杂剧三十种》本和《元曲选》本两个版本。从舞台表演体例来看，元 刊本在开收场和人物上下场方面没有形成一套规范的程式，而明刊本则显示出了人为规范的痕迹。明刊本中 的科介多且精细。在保持剧情基本走向不变的情况下，明刊本进行了大范围细节改动，使两版本形成了不同的场上看点。在随何出使的起因上，明刊本将被动改为主动，新添随何与刘邦之间的人物矛盾；在事件的结局上，元本突出战况汇报情节，明本兼重封赏情节。这一系列差异，既得因于杂剧的逢演必变，又体现了臧懋循的个人意志及时代氛围的影响。南戏也在滑稽戏份和脚色方面深刻影响着元杂剧的发展。元明刊本的变化根本原因在于两种不同的戏剧观，即从“曲本位”向“剧本位”的嬗变。

There are two versions of the Yuan Zaju Emperor Gaozu of Han Dynasty Summoned Ying Bu While He Was Washing His Feet. From the perspective of stage performance style, the Yuan edition did not form a standard program in opening, ending and characters on and off the stage, while the Ming edition showed traces of artificial norms. The Ming edition had numerous exquisite divisions. In keeping the plot basically unchanged, the Ming edition had plenty of changes in detail, so that the two versions had different characteristics on stage. In terms of the cause of Sui He's mission, the Ming edition changed passivity to initiative, adding the character contradiction between Sui He and Liu Bang. At the end of the event, the Yuan edition highlighted the part of war reporting, while the Ming edition emphasized the part of rewarding. Such differences are not only due to the fact that Zaju performance changed easily on stage, but also reflects Zang Maoxun's personal will and the influence of the times. The Southern Opera also profoundly influenced the development of Zaju in Yuan Dynasty in terms of comical drama and role. The fundamental reason for the changes between the Yuan and Ming editions lies in two different views on drama, that is, the evolution from "centered on music" to "centered on drama".