1936年創團的「日光劇團」，在羅木生與董錦鳳夫妻的聯手打拼下，運用開放性、時代性、商業性、通俗性與娛樂性的經營策略，整合各類演藝成員及培訓眾多見習生，以「日光京班」、「日光歌劇團」、「日光歌舞劇團」與「日光少女歌劇團」等名號，從「加演京劇」到「綜藝拼盤」，從「活戲」演變為「劇本戲」，從「肉聲團」轉型為「錄音班」等，以因應時代語境、市場消費與觀眾品味「與時俱變」的演出景觀，縱橫內臺戲院與廟會外臺，烙印下八十餘載繽紛多姿的演藝光影，相當程度地反映了臺灣歌仔戲發展演化的歷史光影。本文在參照與修正前賢學者的研究成果基礎上，聚合現存「日光」主事者董錦鳳以及多位見習生的「自傳記憶」（autobiographical memory），搭配劇照海報、錄音戲齣、劇本手稿與報刊史料等「再現形式」（representational forms）劇團史料文物的佐證，梳理、建構出「集體記憶」（collective memory）的「日光」演藝史話，繼而對所呈現與反映的各種演藝現象進行述論。

Riguang Opera Troupe was established in 1936 by the couple Luo Mu-sheng and Dong Jin-feng. They developed a composite business practice of diversification, performing everything from improvised theatre to fixed-script plays, incorporating live vocal performance as well as tape-synced performance. In the post-war period, they expanded, establishing their own performance empire, impressing themselves on the history of mass entertainment in Taiwan and becoming representative of post-war Taiwanese gezaixi. Based on extensive fieldwork and the research of previous scholars, this paper collates materials on Dong Jin-feng, the co-founder of Riguang Opera Troupe, and many of the troupe members, including autobiographical works, representational objects such as photographs, posters, recordings, play scripts and press materials, and collective memories of Riguang Opera Troupe performances. It uses these as evidence for discussion of a number of the performance phenomena of this important stage in the development of gezaixi.