194雪年8月日本戰敗投降，臺灣回歸中國，甫走過日治戰爭期幽暗蔭 谷的臺灣戲曲，在當時的主管機關臺灣省行政長官公署宣傳委員會的相關法規頒布後，受其影響為何?如果政治力有所作用於戲曲發展，那它展現的面向與執行的鬆緊程度又為何?本文即是在前述的問題意識下，企圖釐清並討論:(一)戰後初期戲曲的主管機關臺灣省行政長官公署宣傳委員會，其組織、理念、戲曲法規的形成過程與執行狀況;(二)作用於戲曲發展的主要兩個管制手段「劇本審查」與「劇團(戲班)登記」的落實情形與執行縫隙;(三)宣委會的戲劇(曲)政策對臺灣戲曲發展起看何種的關鍵作用，以及其有何延續性的影響等問題。
透過對於宣委會存在期間(1945.11~1947.3)公布實施的(臺灣省電影 戲劇事業管理辦法〉、(臺灣省劇團管理規則〉二法規的分析，可以發現宣委會的戲劇(曲)法規的設計乃源自中國內地的戲劇檢查制度和在臺灣執行之實務需求，而該會的戲劇焦點又都集中於話(新)劇而非戲曲，以致相關法規的擬定幾為話(新)劇而設，因而，這使得臺灣戲曲發展出現了半年左右的自由放任期。伴隨著二法規的頒布，戲曲的「上演劇本審查」及「劇團成立登記」才開始進入行政管理系統予以掌控，而這兩個制度的實施及其精神，又持續深刻地影響著往後臺灣戲曲的發展。

hen Japanese surrendered in August 1945， Taiwan was returned to China. The Taiwanese operas， which had just gone through a hard time under the Japanese colonial rule and subsequent warfare， had a new higher authority-the Propaganda Committee of Taiwan Provincial Administrative Executive Office. When the relevant regulations issued by the Propaganda Committee came into effect， what impact did they bring to the Taiwanese operas? If ever political power were to affect the development of operas， in what aspect did it manifest itself and to what degree were the regulations enforced?
With the questions stated above， the present study attempts to clarify and discuss， 1) the organization and ideology of the Propaganda Committee of Taiwan Provincial Administrative Executive Office， its regulations about theater and the circumstances of execution， 2) the two restraining measures on theater development，i.e.,script censorship and theatrical troupe registration， and how they were carried out or bypassed， 3) the crucial impact the Committee's theater regulations exerted on the development of Taiwanese operas as well as the enduring influences.
By analyzing the“Regulations of Movie and Theatrical Industry in Taiwan Province" and“Rules of Management for Theatrical Troupes in Taiwan Province" promulgated during the period (1945.11-1947.3)by the Propaganda Committee， one finds that the Committee had formulated hese regulations based on the censorship system in Mainland China and adapted them to meet the practical demands in Taiwan. Since the Committee laid much emphasis on the stage plays instead of operas， the regulations in question were devised accordingly. Therefore， the development of Taiwanese operas enjoyed a period of freedom that lasted for about half a year.
It was not until the promulgation of two new sets of regulations， the sCript censorship and theatrical troupe registration， did the operas come under the control of administrative system. The two systems in essence exerted profound and continued influences on the subsequent development of Taiwanese operas.