東華皮影戲團著名的團主張德成 (1920-1995) 於臺灣光復後，曾隨父親張叫 (1892-1962) 進入全省戲院演出，開創臺灣皮影戲史上商業劇場的黃金時代，見證臺灣自1952至1967這十五年間內臺戲劇場文化的興衰歷程。他留下詳盡的《內臺演戲記錄》包含了頁碼、日期、上演天數、第幾次上演、戲院與地址、經理姓名、各類收支金額、上演戲文、戲院與本團得分數、此院上演評定、特要記事、以及多少年後可赴演這十一項內容。本文即試厲以《內臺演戲記錄》為基礎，自戲院、劇團、觀眾與官方法令四個構成因素，以皮影戲為例，建構臺灣光復後的內臺戲劇場文化特質。 戲院的種類包含正規與露天兩種，構成臺灣內臺戲的主要空間。探討興建地點、新舊、結構、大小等因素，瞭解戲院經營者的經營方法與態度，以及相關法規對戲院、劇團及觀眾的限制，可以掌握戲院在內臺戲劇場文化中的重要性。解析劇團進入戲院演出的完整過程，以及影響劇團演出的人為與非人為因素，可進一步釐清東華以什麼戲劇文本、演藝呈現手法、使得劇團在短短十五年內創造高度利潤，然後逐漸衰退。分析觀眾無法進入戲院觀戲、觀眾自身的問題、和政治與宗教活動的影響等因素，亦將明瞭觀眾必然是建構內臺戲劇場文化的重要因素之一。張德成也記錄戲劇比賽、劇界相關人物的活動與戲院位址相關資料，雖屬次要但依然值得探究。儘管《內臺演戲記錄》是皮影戲單一劇種的內臺戲記錄，但張德成以東華團主的平民觀點，記錄內臺戲的歷史軌跡，有別於官方記錄與舊報紙的文獻價值，因而益顯珍貴。

Chang Te-cheng (1920-1995), famous former puppeteer of Tunghua Shadow Puppet Troupe, accompanied his father Chang Chiao (1892-1962) to perform at various commercial theatres around the island, and created the golden age of shadow puppet after the Restoration of Taiwan, other than witnessing the rise and fall of the culture of commercial theatre between 1952and 1967. His Record of Performances in Commercial Theatres contains eleven parts: pagination, date, number of performance, time of entry, location of theatre, manager, balance, scripts, division of income between theatre and troupe, evaluation of performance, special events, and year/s for a second try. Based upon this invaluable record of shadow puppet theatre, this paper aims to reconstruct the characteristics of theatre culture during the afro-mentioned period in terms of theatre, troupe, audience, and official regulations. Theatre at that period can be divided into two types: regular and temporary ones, which serve as the main in-door performance spaces. The vital role of theatre as a crucial e1ementof theatre culture can be comprehended by examining the location, style, structure and size of theatre, the method and attitude of management, and influences caused by related regulations as well. Scrutinizing the entire procedure of performing inside the theatre leads us to understand the rise and fall of Tunghua within the fifteen years against the dramatic texts, performing style, and various other reasons. A thorough discussion on the reasons that threaten the audience’s theatergoing, their behaviors, and influences from political and religious activities accounts for the vital roles of the audience in the theatre culture. The records about theatre competition, events of theatre people, and theatre locations are worthy of further study. Even though Record of Performances in Commercial Theatres is indeed a record kept by a single theatre troupe, yet Chang Te-cheng, with the view­point of a puppeteer, documented the historical track of commercial performances inside the theatres. And this is no less precious than official documents, or information seen in newspapers at that time.