本文主要探討晚清上海非教會學校的學生演劇，以清末民初報刊、文牘上的 資料對劇人留下的回憶進行辨析，試圖釐清相關演劇活動的來龍去脈。研究的時 間範圍大致從一八九六年聖約翰書院開始演劇活動起，至一九一○年民立中學的 演出引起官府禁令為止，著重考察學生演劇起始的過程、所演之戲的內容，並試 圖從學生演劇的生成語境理解參與者的動力為何。 在所有出現學生演劇的各級學堂中，民立中學和南洋中學無疑是當時非教會 學校的代表。幾年之內，兩校已經成為上海學生演劇極為重要的人才來源。以這 兩所中學校友為班底的新劇社團從校園出發，逐步爭取到職業劇場中的演出機 會。 相較於過去以啟蒙、救亡為主軸的理解角度，我認為當時學生演劇的主題雖 然反映出對時局變遷的關注，但參與之人顯然更著意探尋自己在變局中的位置， 而不是對特定觀眾灌輸某種思想觀念。演劇其實是這些學生挑戰既有規範、摸 索立身之道的方式。並且，這項活動本身可能帶來的趣味及自我滿足也不應被忽 視。對於中國現代劇場的緣起，此點與場上所演之戲同樣關鍵。

This paper re-examines the history and historiography of student theatre in late-Qing Shanghai by using first-hand materials from contemporary newspapers, magazines and governmental documents. It focuses on the theatre activities of nonmissionary schools and discusses how they started to be inspired by the missionarybased St. John’s College where student theatre began as early as 1896. It also looks at the contents of the students’ plays and their aspirations for this extracurricular activity. I wish to demonstrate that, instead of being part of the intellectuals’ “Enlightenment” project or the revolution aiming to end the imperial rule as one would often read in written histories on the subject, the students were more eager to explore their positions in a rapidly changing society. What theatre meant for these young people was first a channel through which they could challenge existing boundaries and search for a possibility to establish themselves. It is also important not to ignore the playfulness and self-realization which students may occasion while taking part in theatrical works. This is as crucial as the staged plays when the beginning of modern Chinese theatre is considered.