1920年6月，上海發生了一起震驚社會的凶殺案。狎客閻瑞生殺害妓女王蓮英，並將其身上的首飾洗劫一空。幾日後，王蓮英的屍首在麥田被發現，案情也隨之曝光。從6月案發至11月閻瑞生伏法，這一路偵查、追捕、審理、判決，乃至執法的過程，都廣受社會大眾的關注。敏銳的劇場經營者在這些炙熱的目光中嗅到了商機，以此案為題材的劇作很快地被推上舞臺，並且大受歡迎。以時事入戲是海派京劇的特色之一。然而時事戲自晚清初見端倪後，此後的發展卻時斷時續。直至1920年的《槍斃閻瑞生》，時事戲才以高度娛樂性之姿，在市場上獲得空前的成功。時事戲包含「當下╱近期時間」與「真實事件」兩個概念。這類題材除了滿足大眾窺探他人隱私的欲望，也因為呈現了相似或熟悉的生活經驗而容易引起觀眾共鳴。這些共鳴不僅可以被轉化為商業利益，也可能被轉化為社會輿論。本文透過當時的新聞報導、劇院廣告、劇本、劇評、錄音資料，考察《槍斃閻瑞生》的演出概況。透過分析本劇的演出內容，探討製作團隊如何運用真實的素材、虛構的想像，既打破又仰賴劇場以虛為實的空間特性，建構「被搬演的真實」。最後探討本劇在公共領域中的可能性，並從抒情功能探索時事戲在京劇史上的特殊性及意義。

In June 1920, a homicide case in Shanghai sent shock waves through society: Yen Ruisheng, the client of a prostitute named Wang Lianying, murdered Wang and absconded with her jewelry. Wang’s body was discovered in a nearby field a few days after her death, leading to the exposure of this killing. From the moment Wang’s body was found to Yen’s capture and subsequent execution (a time period lasting from June to November) the public was engrossed in every step of the investigation, pursuit, trial, and execution. Seizing upon this opportunity, theater owners capitalized on these sensational events by producing a play about them. This drama became an instant hit, attracting large audiences. The use of topical events is one features of Shanghai style Peking Opera. However, topical drama had struggled to find its footing when it first emerged during the late Qing dynasty. With the debut of Executing Yen Ruisheng in 1920, this particular genre of Peking Opera experienced an unprecedented surge in popularity due to its being highly entertaining. Topical drama features two concepts: current time/recent time and actual events. Through watching this type of drama, audiences could not only fulfill their voyeuristic desires to pry into others’ privacy but also better empathize with the story since it resembled their daily lives. These resonations could be converted into both profit and public opinion. This article provides an overview of performances of Executing Yen Ruisheng based on the study of news reports, theater advertisements, drama reviews, and recordings. Through analyzing the contents of this work, the author considers how its creators combined true story materials and the imagination, and then went beyond the boundary of real and fiction to create a new reality on stage. Lastly, the article discusses the potential roles that this work played in the public sphere and its unique place in the history of Peking Opera while exploring aspects of topical drama’s emotional expressions.