葉榮鐘於1929年引起一場關於現代戲劇理論及劇本創作的論爭，以往的研究將此論爭視為新舊文學論爭的一部分，忽略其做為日治時期首次討論西方現代戲劇的特質。本文以葉榮鐘的論爭篇章為材料，對於他引用的戲劇理論進行溯源，從那些被引用的日本及中國劇論家的書寫脈絡，考察葉榮鐘的文藝觀。本文指出，葉榮鐘對於傳統文人的道德文學觀所做的抨擊，是五四文學革命運動影響下的反傳統觀念之表現；葉榮鐘從羅曼羅蘭《民眾藝術論》、日本無產階級戲劇運動、中國宋春舫的戲劇觀得到啟發，提出了啟蒙文藝觀：應發展娛樂性和藝術性兼具的戲劇，不但能吸引觀眾，而且能夠達到涵養民眾趣味和品性的目的。再者，本文透過葉榮鐘引用的戲劇理論出處之溯源，發現戲劇理論在中日台之間的跨境流動現象，釐清日治時期台灣新文學運動受中日文藝思潮發展的影響路徑，指出外來思潮進入日本殖民地台灣時，其傳播路線具有多樣性和曲折性的特色。 Modern Taiwan drama debate occurred by Yeh Rung Zhong in 1929 was concerned with the modern drama theory and drama scripts. The previous research treated this debate as a part of the discussion of New and Old Literature, and overlooked the character of the first modern drama discussion. This assey put this debate under the literature and drama history to find out its value in the new drama development which belonged to the new culture movement. This assey also traced the original reference quoted in Yeh Rung Zhong's articles and analyzed his literary view according to Japan and China drama critics' writing context. This assey pointed out three views. First, the anti-traditional idea of May Fourth literary revolution movement affected Yeh Rung Zhong to criticize the old literature writers for the moral value of literary views. Second, ＂The People's Theatre＂ written by Romain Rolland, the proletarian modern drama movement in Japan and the drama views of Chinese drama critic Sung Chun Fang inspired Yeh Rung Zhong to build his ＂Enlightened literary view＂. Yeh Rung Zhong argued that only the drama which art and entertainment coexist can attract audiences, and also achieve the purpose of cultivating people's hobbies and characters. Third, this assey became conscious about a cross-border interchanges of the drama theories among Japan, China and Taiwan, and the Taiwan new literature movement was effected by Japan and China's dissemination of literary trends by clarifying the propagation paths. These paths showed the diversity and twistiness when foreign thoughts propagated into Taiwan during the Japanese ruled period.