1909年間，懷抱協助殖民地同化開發使命的高松豐次郎，在全島廣建戲院的同時，創設了「臺灣正劇練習所」，並於隔年推出「臺灣正劇」。本文根據新出土史料，重新考察 1910年代「臺灣正劇練習所」的劇團活動始末，探討由殖民者為臺灣人量身訂製的「臺灣正劇」的內容與性質，以及臺灣人觀眾的接受狀況。主要發現，「臺灣正劇」在美學的面向上仿效日本新派劇，是臺灣現代戲劇的一個重要源頭；在政治的面向上，「臺灣正劇」散佈日本殖民者的意識型態，是一項從受殖者的精神面施予殖民地化的工程，它不僅合理化殖民統治，同時也制約著殖民地的文化生產。臺灣觀眾對「正劇」的接受，雖然反映了一般大眾對「本土的」戲劇的渴望，卻也暴露了以男性為中心的臺灣閩裔漢人社會，跟殖民者之間存在著共謀的關係。

Takamatsu Toyozirou founded the theater company Taiwan Seigeki Renshujo (Taiwan Drama Company) in 1909, when he was also building theaters around the island, and produced the Taiwan Seigeki (Taiwan Drama) for the stage the following year, aiming to contribute to the assimilation and development of colonial Taiwan. Based on newly-found historical data, this essay reexamines the activities of Taiwan Drama Company, and explores the contents and characteristics of Taiwan Seigeki, a theatrical genre specifically targeting the Taiwanese audience, as well as how it was received in Taiwan. It is argued in this essay that, aesthetically fashioning upon the Japanese Shinpa Theater, Taiwan Seigeki is an origin of the modern theater in Taiwan; on the other hand, the plays functioned as political vehicle to disseminate the Japanese colonizer´s ideology. Taken as a project of cultural colonization, Taiwan Seigeki was utilized to both rationalize the Japanese colonization of Taiwan and help regulate the colonial cultural production. The acceptance of Taiwan Seigeki by Taiwanese audience, while reflecting the prompting desire of the public for “native＂ theater performances, also revealed the complicit relationship between the male-dominated Hoklo society in Taiwan and the colonizer.