本文係以呂赫若日記的記述為基礎，探討1942-1943年間呂赫若在臺灣的音樂與戲劇活動。首先，第二節探討1942年當時以「臺灣演劇協會」之設立為中心的臺灣文化狀況。其次，第三節討論呂赫若的音樂評論，著重在呂氏對電臺廣播音樂活動所顯示的關心。第四節裡，探索呂氏視戲劇為「音樂與文學的融合點」而展現企圖之同時，也歷經挫折、回返文學創作之途的軌跡。根據呂氏日記所載，他創作了八部劇本，今皆不存。其中大多是因生計所需應所屬的臺灣興行統制會社之要求而作的劇本，推測其中內容應有附和當時國策之處。總之，本文企圖闡明，是1942-1943年間臺灣文化統制所造成的畸形的戲劇環境，扼殺了呂赫若對戲劇的熱情。

This article discussed the musical and theatrical activities of Liu He-ruo during 1942-43 in Taiwan, based on his diary. At first in Section 2, I discuss the cultural situation in 1942 Taiwan, especially the establishment of Association of Taiwan Drama. In Section 3, I discuss Liu's musical criticism, centering on musical activity using radiobroadcast. In Section 4, I trace Liu's theatrical failure. He failed while showing will in drama as "the fusion point of literature and the music", and gave up theatrical activities and returned to literature. According to his diary, Liu wrote eight dramas, but these dramas do not exist today. Liu wrote these dramas by the request of the Taiwan Performance Control Company as part of national policy and therefore he lost passion in drama. In other words, the Taiwanese theatrical environment twisted by cultural control killed Liu's passion for theater.