During the period when the Taiwanese government championed with much vigor its anti-communist/anti-Soviet national policies, the Taiwan Provincial Local Theatre Association came into being in 1941. Its establishment was dominated by the KMT organizations. On the one hand, it carried out the government's determination to steer the direction of civil theater troupes' productions. On the other hand, it was a platform where combined the troupes and artists in strengths to gain their living, welfare, and development, very similar to a guild in its nature and function. Therefore, the Taiwan Local Theatre published by the Taiwan Provincial Local Theatre Association also possesses the two-folded features mentioned above. In the eyes of theatre history scholars, it provides rare and important documents. From the Taiwan Local Theatre, I have collated a) Sixty-six troupes with their managers' names. They include goa-a, luantan, jiujia, stage plays, musical theatres, and acrobatic troupes that actively sought performance opportunities between 1952-1953. b) Thirty-seven theatres with information of the managers, addresses, and telephone numbers . These were commercial theatres that provided stages for local performances. c) Two stage setting factories that produced artistic scenery background professionally. d) Two embroidery workshops that provided tailored costumes for theatres. The Theatre Column in the Taiwan Local Theatre introduced five performance art troupes, including Taipei Black Cat Musical Company, Mailiao Gongle Society, Gaoxiong Gaoyue Theatrical Company, the Butterfly Musical Company and the Duma Theatrical Company. These are first-hand information documented in between 1952-1953. Artists Column had introduced 32 performing artists. It is the basic material for studying the history of Taiwanese actors and actresses. There is also a column that announced performance schedules of famous troupes, which I compiled into a chart in the appendix. Even though the Taiwan Local Theatre had only published five issues, it reflected the Taiwanese governmem's attitude towards local theatre and witnessed the birth and eventual booming of commercial theatres in postwar Taiwan.