This thesis aims to analyze and compare the performance forms of Korean Talchum and Chinese Peking Opera, with the goal of contributing to the development of modern performance forms while preserving their traditional essence. To this end, three from the thirteen National Intangible Cultural Heritages of Korean Talchums and three from the eight major plays of Mei Lanfang’s Peking Opera were selected for analysis. The study categorizes the performance forms into formal and content-based aspects, providing a comparative examination of their similarities and differences. Regarding formal elements such as masks, costumes, stages, and props, both Talchum and Peking Opera share features, the concealment of actors’ faces to focus attention on the characters, and the use of traditional costumes to enhance the narrative depth through stage props. Differences emerge from the choice between using masks or wearing makeup, the level of costume exaggeration, indoor or outdoor stage settings, and restrictions on props. In terms of content-based elements, including the structure of the drama, dialogue composition, music, and dance, similarities include the division of the drama into scenes marked by the characters’ entrances and exits, the usage of rhythmic language, and the separation of the drama’s progression through distinct dance and song accompaniments. Differences are found in the narrative approach-whether it is omnibus-style of focuses on specific narratives, the use of bilingual dialogue, restrictions on dialogue, traditional rhythms specific to each country, and the depiction of feasts in imagery and symbolism. Talchum and Peking Opera are not only representative of the traditional culture of their respective countries but also embody the historical evolution of moral concepts and the spiritual realm. There is a hope that both Talchum and Peking Opera will continue to be appreciated in the contemporary era, beyond their traditional performing arts context.