有中國戲劇史學者認為第二次中日戰爭期間是上海話劇史上的黃金時代，職業話劇出現異常的繁榮，許多限於環境不能發表文章的作家改寫劇本，許多不寫劇本的人開始寫作了，帶來了劇本創作的熱潮。創作的成就按題材來說，大致反映在三個方面：歷史劇、改編劇（或改譯劇）和現實劇。然而，這八年除了孤島時期，還包括太平洋戰爭爆發後（1941.12.8）孤島陷落時期，同時也與汪精衛政權部分重疊。太平洋戰爭爆發後，上海話劇市場的商業投機更加濃厚，一九四二年這一年上海演出八十多部戲，「大部分跳不出色情、詭苛、荒誕的圈子，而大部分更是既成的和改編的戲。」原來在上海租界從事劇場、力主抗日的劇團、劇作家，在國民黨統治區╱「淪陷區」來來去去，並在日軍控制區持續戲劇演出。以傅葆石《灰色中國》書中列為抗日文人代表的李健吾（1906-1982）為例，孤島消失後，他仍繼續在日軍控制的上海從事戲劇工作。這位「孤島」時期抗日劇運指標性人物，何以能來去自如？是孤島時期的劇團、劇作家在日軍控制租界之後，原來反日與批判的色彩日益隱晦，轉以商業、低調的態度作戲？而日軍為了維持表面的歌舞昇平，容忍曾經參加抗日劇運的戲劇家？或當時影劇界的生態環境就是如此？近年討論汪精衛政權的著作甚多，也有若干針對戰時戲劇的論述，不過，多從左翼或民族主義立場，以抗日戲劇為論述主軸。至於日軍或汪政權控制區的中國戲劇界呈現甚麼生態？並未引起太多的關注，至今仍乏人研究。本文擬從有限的戲劇資料，重構汪政權統治區的戲劇活動，主要討論與汪政權有關係的劇團、導演、演員，包括汪政權「官方」創辦的劇團、支持和平運動或配合日本軍方政策性演出的「民間」劇團，或接受日本、汪政權補助的劇團，亦即親日（汪）劇團，而非在日軍控制區的所有戲劇活動，包括作商業演出的劇團。討論對象偏重話劇，空間則以上海、南京為中心，此因上海係中國第一都會，劇場也一枝獨秀；南京的劇場雖不發達，卻是汪政權的首都，有其政治與文化意涵，能看到汪政權「戲劇界」的凝聚力與號召力。

This article analyzes activities of theatrical troupes, directors, and actors under the Wang Jingwei regime. Scholars in History of Chinese theater argue the time period of the second Sino-Japan War was the ＂golden era＂ of Shanghai theatre. During those eight years (1937-1944) theatrical activities took place vigorously in this city as many writers, having stopped writing criticism under political pressure at the time, turned to write scripts. Specifically, commercial theatrical activities in Shanghai became even more vibrant after the beginning of the Pacific War on December 8, 1941. The eight years comprise three time periods that are significant to Chinese modern history, including the last years when the Shanghai International Settlement was still divided by colonial powers (1937-1941), the year when Japanese troops stormed in and took over the Shanghai International Settlement (1941), and the time period when the Wang Jingwei regime ruled, supported by Japanese military force, as a puppet government (1940-1944). Scholarly works have discussed theatrical activities during these time periods, but most of them analyzed the situation from either a leftwing or a nationalistic perspective and addressed exclusively theatrical activities that highlighted anti-Japanese attitudes; few analyzed the actions and interactions of Chinese theatrical professionals working in the territories that were controlled by Japanese military or Wang regime. Based on data that document theatrical activities taking place in these military milieus, this article depicts theatrical activities under the Wang regime. Specifically, I analyze activities of the ＂pro-Wang-regime＂ theatrical troupes in Shanghai and Nanjing, which include the troupes officially organized by the Wang regime, the ＂civil troupes＂ that supported the ＂peace movement＂ or other Japanese political campaigns, and the troupes supported by the Japanese military force or Wang regime. Activities in Shanghai and Nanjing during the time are worth special attention because Shanghai was then the largest metropolitan in China, and Nanjing was the capital of the Wang regime. Through this analysis I aim to show the ways theatrical professionals under the Wang regime negotiated their political standpoints, worked with political structures, and collaborated for integration and mobilization.