上世紀初傳統戲曲的改革伴隨着政治改革而生，同時傳統戲曲對於一般民眾的強大感染力，在整體社會現代化進程中，常被有識之士以為改革社會甚或政治宣傳的工具，這也是傳統教化觀的一種延續。
　　產生於1940、1950年代前後的大陸秧歌劇與在臺灣的戲曲反共抗俄
劇，即是利用戲曲進行政治宣傳的典型，目的因是相同，但操作手法不同，所造成的結果，對於日後相關劇種發展的影響也完全不同。
　　本文即以這兩種國民黨與共產黨對峙語境下所形成的戲曲作品為分析對象，除了說明其產生語境外，並將以相關文本為分析對象，分析這些具有政治宣傳目的的作品，在議題置入、形式擷取、程式發展等操作策略及其差異，也將說明所造成的影響亦大不相同。
　　政治宣傳戲曲，是特殊語境下的產物，也是政治對於戲曲發展最明顯的影響，並產生不同層次的結果，直接展現社會現代化進程中，同屬於上層建築的兩者之間的糾葛。秧歌劇與反共抗俄劇從其形成與所造成的影響，即是鮮明的例子。

Early last century, with the political changes, there was a call for reform of the traditional drama. The strong influence of traditional
drama on the mass is often considered by men of vision to be instrumental
in the process of political or social reform of entire social modernization. It is also a continuation of the traditional moral education.
The yangge opera in mainland China and the fangong kang’e (anti -
communism and anti-Soviet Russia) opera in Taiwan that came out
around the late 1940s to 1950s are classic cases of traditional drama being utilized in political propaganda. Though they shared similar purposes, the difference in manipulation had resulted in different influences on later theatrical developments.
This article analyzes the two kinds of operas that came into existence
in the context of the confrontation between Kuomintang and communist
party. I describe the context and analyze those operatic works with
propaganda purpose in terms of their strategies of subject placement,
ways of form-adoption and development of conventions. I wi l l also
illustrate the contrasting influences they brought about.
Pol itical propaganda drama is the product of a special context.
It manifests most visibly the effects of political inf luence and causes multi-dimensional consequences. The formation and inf luemces of the yangge opera and anti-communism drama reflected the process of social modernization.