為了突顯傳播戲曲文化的組織在戲曲傳播過程中的關鍵性地位，本文 將討論傳播戲曲文化的組織，也就是傳播的主體（誰在傳播？），對於戲曲傳 播的影響。本文認為被傳播的戲曲劇種、傳播的方式、傳播的對象和所欲達 成的傳播效果等，都和傳播主體—文化組織脫離不了干係。 本文以 1960 年代以前流傳於新加坡潮州社群的外江戲為研究對象，透 過該劇種在新加坡潮州社群中歷時性的發展脈絡，分析傳播外江戲的組織 —業餘儒樂社，對於劇種內涵的形塑和發展。文章根據歷史文獻、劇本資 料和口述歷史等材料，透過傳播主體潮州儒樂社自身角色的定位、樂社的外 江戲╱外江樂的傳授、外江戲的觀眾等三個面向，勾勒出戲曲文化從文化母 體（中國）到移植地（新加坡）的現象，以及該文化到移居地後的發展和演變。

In order to highlight the critical role of cultural institution in the dissemination of Chinese Opera, this article focuses on the cultural institution, which is the propagation of disseminating an opera, arguing that the opera genre, the way of disseminating, the audience, and the dissemination effect are subject to the cultural institution. Based upon Er Woo Amateur Musical & Dramatic Association, a Chaozhou opera association in Singapore, this paper argues that it helped to shape a strong image of a so-called Wai-jiang opera (nonlocal opera) in Singapore before 1960s. According to the development of this opera in Singapore, historical documents, scripts, and oral histories are utilized to sketch out the actual cultural phenomenon from a cultural matrix (China) to an immigrant society (Singapore) through three aspects: the society roles of the cultural institution, the actual impart of musical and dramatic knowledge, and the audience.