民國34年10月至36年4月的臺灣省行政長官公署治理時期，是臺灣結束日本殖民後的短暫新生期，也是當時對「祖國」政經治理、文化語言適應的關鍵期。這一年半的臺灣戲劇史發展，時間雖短，但影響及作用力卻很大。舉凡戲劇政策法令的制訂執行、戲劇語言的使用選擇、中國話劇的植入作用、臺灣新劇傳統的存斷、省內外劇人的交流互動等，皆是在政權轉換初期真實發生且對後之臺灣戲劇發展有關鍵性的影響。 本文以省署時期的臺灣話（新）劇發展做為討論中心，先嘗試梳理彼時臺灣戲曲、新劇發展及中國話劇在臺演出情形，繼之探討劇團管理與劇本審查辦法的制訂、變化及實施情形，並對照抗戰時期大後方的劇本審查制度，考察二者在內容和精神上的延續關係，再則觀察以文化、批判為主調的臺灣新劇傳統於彼時的發展情形，並分析其與戲劇法規制訂的關係及反作用力而終至消失的原因，最後則一探中國話劇的在臺開展，並評估其在藝術、文化、語言「優勢」表象下的實質影響及當時省內外戲劇人士的互動情形。藉此一時間極短的斷代戲劇史探討，對於我們瞭解臺灣戲劇在此一特殊歷史段落中在繼承╱延續、適應╱實踐、交融╱抗拒、移植╱內化等現象的觀察、理解有所幫助。

The Taiwan Provincial Government Period (October 1945 to April 1947) was a short “rebirth period”following Japan’s colonization, and a key period for the Chinese government to establish political and economic governance and make cultural and lingustic adjustments. This short period of one and a half years witnessed significant development of Taiwan’s drama history and its influence was great. The making and execution of related policies and laws, the choice of dramatic language, the implantation of Chinese spoken drama, the continuation and disruption of the tradition of Taiwan’s new drama, and the exchange and interaction among performers within Taiwan and between Taiwan and China truly happened in this early transitional period and had critical influence on the development of Taiwan’s drama. This study centers on the development of Taiwan’s spoken (new) drama during the Taiwan Provincial Government Period, starting with a survey of the development of Taiwan’s traditional operas and new drama and the performances of Chinese spoken drama in Taiwan. Next, it probes into theater management and the inception, change and implementation of script censoring, in comparison with the script censor system used in the rear area during the Sino-Japan War, so as to investigate the latter’s extension into the content and spirit of the former. Moreover, the study observes the development of the tradition of Taiwan’s new drama, which features cultural critique, and analyzes its relationship with and counterforce against the new regulations, and the reasons for its eventual disappearance. Last, this study discusses the development of Chinese spoken drama in Taiwan, and evaluates its actual influence under the guise of“superior”art, culture and language, and the interaction of theatre professionals from Taiwan and China. This study on the drama history in such a short period of time helps us comprehend the inheritance/extension, adaptation/implementation, blending/resistance, and transplantation/internalization of Taiwan’s drama during this special historical period.