我們知道中國現代戲劇 (或曰「話劇」) 一般都以1906年末「春柳社」在日本東京演出小仲馬的《茶花女》作為起點，到了五四運動以後才有比較像樣的文學劇作出現。二十世紀三、四○年代出現了大批劇本創作，雖然當時的潮流傾向西方的寫實主義，間有浪漫主義的影響，但實際因為劇作家對寫實主義不甚了解以及為時代的動向與氛圍所限，以致與西方的寫實主義劇作有一段很大的距離，故我稱其為「擬寫實主義」。 臺灣光復後的現代戲劇，除了凸顯政治意義外，在藝術形式上延續大陸上的擬寫實主義，直到1965年姚一葦的《孫飛虎搶親》寫成，才在布雷赫特史詩劇場的影響下，突破了擬寫實主義的窠臼，使台灣的現代戲劇展現出一副新面貌。

The 1906 performance of Dumas fils' La Dame aux Camélias by the Spring-willow Society in Tokyo has usually been considered as the starting point of modern Chinese drama (or spoken drama). However, the serious dramatic works were written no earlier than the May Fourth Movement of 1919. I have described those large quantity of modern plays produced from the third decade up to the forties of last century with the term of "pseudo-realistic pieces" because of their imitation of western realism in appearance without the real realistic esthetics. Taiwan modern drama after the Restoration continued this pseudo-realistic tradition in addition to its strong political involvements. It was the publication of Yao Yi-wei's Sun Feihu, the Snatcher of Wedding in 1965, under the influence of the epic theatre of Bertolt Brecht, which turned the dramatic mood of last century into a new era. In this paper, the author attempts to demonstrate the historical meanings of Yao Yi-wei's dramatic works in the development of modern Chinese drama in Taiwan.