要求「改良」，是台灣地方戲曲所面臨不曾間斷的壓力，這種訴求更不斷透過意識形態國家機器的強力放送，使得來自國家機器的管制也合理起來。戰後假各「地方戲劇協進會」之名，於1952年開始所舉辦的地方戲劇比賽，即是其一；1976年起借此協會出版的劇本，亦是其一。本文將以台灣地方戲劇協進會出版的劇本為研究對象，除說明當年「改良」語境，及在國家機器操作下的劇本生產狀況，將實際分析這些文本，說明劇本之生產，在國家機器介入下，「地方」如何被挪用，「傳統」如何被改造，又如何操作，使地方戲曲成為意識形態再生產的工具。本文結論也將說明，這種專建立在意識形態再生產目的的「改良」，並無法改變地方戲曲的下層基礎，從而使得這些「改良」在今日看不到具體影響，本文所分析的劇本即是例子。

The constant pressure of Taiwanese local Drama (Xi-Qu) is being requested to be improved. This improvement appeals is expressed constantly and aggressively by Government's Ideology. That makes the government's control reasonable. The local theater competition in 1952 hold by ＂Taiwan Local Theater Association＂ after World War II is one of them. The script published by the ＂Taiwan Local Theater Association＂ in 1976 is another one. This research's object is the scripts published by ＂Taiwan Local Theater Association＂. It will describe the ＂improvement＂ context at that time and the script production circumstances under government's control. And, it will analyze these scripts, describe how the scripts production, the ＂local＂ is misappropriated, and the ＂tradition＂ to be transformed under government's control, and make the Taiwan local Xi-Qu to be the tools of ideology reproduction. The conclusion will explain this kind of ＂improvement＂ served the ideology reproduction can not change the bottom layer infrastructure of the local theater. There is no concrete impact of these improvements today. This research's analyzed scripts are examples.