本文主要討論日治時期來臺福州班的劇種問題。因清末民初「劇種」一詞俏無明確的界義，戲班演出也普遍有諸腔合潰的情形。在考察歷來文獻資料後，認為早期來臺福州班雖為知名之f��班，卻當有閩福演員同臺、京徽劇種合演的現象，故而有著「福州京班」的內涵。據此同意京劇在臺演出始於劉銘傳時期的說法，推論1880年代末臺灣應當已有京劇的演出，逐漸於1890年代形成好向京劇的風潮，在觀眾群逐漸擴大的情形下，為日治時期的 商業劇場演出奠下了基礎。爾後福州當地徽班凋零、福州戲興盛，使19日年後來臺之福州班確屬「福州、|戲(閩劇)班J'然而福州、|戲在臺灣仍有使用官音演出的蛛絲馬跡，戲班亦有演出京劇的紀錄，而福州戲的武戲均傳承自京劇，在與「京劇」的關係密切的情況下，終使「福州京班」說法被沿用下來。

This paper discusses mainly what jü-zhong (types of opera) the
Fu-zhou Ban (troupes of Fu-zhou) performed in Taiwan during the Japanese
Occupation. Not until the mid-20th century was the term jü-zhong clearly
defined, and at that time, zhu-qiang he-yan (troupes giving performances of
different dramatic genres) was quite common for troupes. Based on investigation
into literature and historical sources, I find that the Fu-zhou Ban
which came to Taiwan in the early Japanese Occupation actually showed the
traits of Fu-zhou Jing-ban, which means they performed Peking Opera
because actors from Fu-zhou and Shanghai performed together, and Peking
and Hui Opera were presented on the same stage. Accordingly, I propose
that Peking Opera made its first appearance in Taiwan during the period
when Liu Ming-chuan was the Governor, further inferring that in the late
1880s there should have been performances of Peking Opera, with a trend
formed in the 1890s, which formed the basis of commercial theater later during
the Japanese Occupation as the viewers gradually increased. Afterwards,
troupes performing Hui-xi (Hui Opera) withered in local Fu-zhou while Fuzhou-
xi (Min Opera) thrived, and so the Fu-zhou Ban coming to Taiwan
after 1923 were Fu-zhou-xi troupes. However, there were still traces about
Fu-zhou-xi performed in manderin then, and the troupes did have records of
performing Peking Opera. Moreover, the martial performances of Fu-zhou-xi
were all inherited from Peking Opera. It is with these close connections with
Peking Opera that the term Fu-zhou Peking Opera Troupes is accepted and
adopted.