臺灣京劇史研究近年來成績頗有突破，不過，其中仍有許多有待補足、釐清的部分需要我們持續的努力，以建立更為豐富、實證的相關論述供未來臺灣京劇史書寫之用，而日治時期及戰後初期的臺灣本地京班研究即是其中一個重要且關鍵卻又一直乏人關注的課題。

本文以日治時期之廣東宜人圍及戰後營運至1961年的宜人京班此一延值近五十年之本地京班為論述對象。該班無論在營運的時間跨度、本地京劇演員的訓練、本地京劇觀眾的養成以及對臺灣京劇生態的影響等方面，皆極具意義，可以說是研究臺灣本地京班發展與變遷最具代表性之例。透過日治及戰後報刊資料的運用及對該班藝人長期的口述訪談，本文希冀對既有文獻資料予以補充、釐清及豐富。

本文撰述的目的不僅僅在於建立一戲班史，更希望達到的是對於京劇「移植」到臺灣之後如何「內化」的過程以及本地京班在面對上海京班、外省京劇藝人、戲班及軍中京劇團的競爭時存在著何種的團應、互動與合作關(系的觀察與探討。是故，本文的論述架構先以歷史時間為軸，先探討日治時期的廣東宜人園及戰後的宜人京班在組織營運、戲師、演員、劇目、演劇文化等方面的考察，繼貝IJ與臺j彎戲曲史相關研究結合，探討彼時京劇在臺灣在地化的諸多問題以及該班於文化史上的意義並提出進一步的觀點。

Studies of Peking opera in Taiwan have witnessed significant
breakthroughs in these years. Still, there remain areas where supplements
and clarifications are needed for constructing a more fruitful and empirical
discourse that will serve to enrich the history of Peking opera in Taiwan.
Studies on Peking opera troupes of the Japanese Occupation and post-WWII
period are an important subject that nevertheless have long been neglected.
This article examines the Yiren Garden of Guangdong during the
Japanese Occupation and the local Yiren Peking Opera Troupe that operated
from the post-war years up to 1961. Either in terms of their duration of operation,
training of local performers, cultivation of local Peking opera audience,
or their impact on the condition of Peking opera in Taiwan, studies of
the two troupes are most meaningful. They are representative cases of the
development and transformation of Peking opera troupes in Taiwan.
Through reviewing newspapers of the Japanese Occupation and post-WWII
period and interviews of the troupe members over a long period of time, this
article aspires to supplement, clarify and enrich the extant documentation.
The purpose of this article goes far beyond constructing history of one
single theatrical troupe. It further proposes to investigate the internalization
process since the Peking opera’s transplantation in Taiwan; and to observe
the reaction, interaction, and cooperation of the local Peking opera troupes
when they confronted competition from Shanghai Peking opera troupes,
non-native Peking opera artists and troupes, as well as the Peking opera
troupes in the military service.
Therefore, the framework of the present article is first to survey the Guangdong Yiren Garden and the post-WWII Yiren Peking Opera Troupe
regarding their organization, operation, instructors, performers, repertoire,
and theatrical culture. Next, I shall combine my survey with the history of
Taiwanese theater, explore the many problems arising from the Peking opera
troupes’ localization, and offer a new perspective towards where the troupe
stands in cultural history.