在晚清衰頹的政治時局中，有識之士為呼應梁啟超自1898年以來發起的文學革命，曾積極倡導戲曲改良論說，相關言論也在1904年日俄戰爭的背景下，透過《俄事警聞》、《警鐘日報》、與《二十世紀大舞臺》等報刊的出現，使得戲曲改良論說亦得以密集地展開，一方面呼應詭譎多變的政治時局，二方面則與伶界的積極實踐彼此聯繫，並向下引導新劇舞臺的發展。主要的改良面向則在提升伶人的學識與身份、改良或創新劇本、為舞臺添加布景等思維上續作發揮。 本文將藉由報刊連載的脈絡，梳理1904年以降戲曲改良論說的內涵，並在此基礎上，檢視伶界積極實踐的面向。主要以上海新舞臺編演《二十世紀新茶花》作為討論的核心，藉以說明晚清戲曲改良論如何發展出一套舞臺的隱喻，並在「時事新戲」的形式中貫通歷史與表演舞臺，見證晚清覆滅、民國建立的關鍵時分，精彩完成現身說法的時代意義。

In the late Qing period, intellectuals, in order to follow the literary revolution initiated by Liang Qi-chao from 1898, proposed reform plans of Chinese traditional dramas. As Japanese­Russia War broke out in 1904, revolutionary journals such as Ei Shi Jing Wen, Alarming Bell Daily News, Twentieth Century Great Stage were published continuously, allowing those reform plans to be publicized. The reform plans, aimed at directing the development of new dramas, reflected political crises on the one hand and related to practices of the actor's society on the other. The plans thus chiefty focused on lifting actors' literacy and their social position, revising and generating new scripts, and increasing scenery on the stage. Via those journals' serial contexts, I try to present drama reform plans and to examine actors' practices in the late Qing period. The discussion mainly focuses on Shanghai New Stage's Twentieth Century New Camélias, adapted from Lin Shu's translation of La Dame aux Camélias, trying to demonstrate how those reform plans regarded the stage as a metaphor, which was linked up to politics, performance, and journal discourse. Based on the metaphor, late Qing's reformed dramas connected history with the performance stage. Meanwhile, New Stage's Twentieth Century New Camélias created a brand new meaning when the actors actually participated in the Xinhai Revolution. From this viewpoint, the historic significance of the actors' performance lied in both their fulfillment of reform plans and their eminent contributions in building a new country-The Republic of China.