《中華兒童戲劇集第二輯》是臺灣戒嚴時期（1949-1987）李曼瑰所倡導之「兒童劇運」的活動成果，也是「中國戲劇藝術中心」所出版最具代表性的兒童劇本集。該輯冊以登報徵選的方式，篩選自政府播遷來臺，有公開展演紀錄且具演出規模的兒童劇本。題材方面以中國歷史人物少年故事、童話故事、傳奇兒童故事爲範疇；主題方面，以敎忠教孝，弘揚中華文化精神，恢復民族固有倫理道德，揭露共匪暴政，展現復國建國光明遠景為導向，計收錄有《海王星歷險記》、《金蘋果》、《小花鹿尋父記》、《擒賊記》、《爸爸回家時》、《回生水》、《山村魅影》、《孤兒努力記》、《智擒野狼》、《彩虹泉》等十部劇本，提供當時「兒童劇展」活動，全國各縣市參賽學校演出之用，其兒童劇本編創之雛型及創作思想之傳達，都具有相當的普遍性及影響性。據此，本文以劇本分析為研究方法，透過劇本主題、情節、語言及人物關係，以《中華兒童戲劇集第二輯》中最顯化之傳統道德核心思想及其華人心理特徵之「社會取向」二大脈絡為切入點，經由劇本中所建構之角色特性，嘗試推擬其劇本集創作之歷史語境。其研究結果發現，該劇本集所誕生之背景，固然為國家特殊時期，家庭、社會及道德思想的觀點趨於保守而嚴肅，但其劇本並非以直白的說教為目的。相對的，劇作家以科幻劇、劇中劇及幻想劇的形式，佐以兒童日常生活中之趣味與娛樂，以及對於未知世界所產生之好奇與恐懼，使原本嚴肅的思想主題擺脫教條式的固定套路，調和成為具有娛樂效果的戲劇想像空間，潛移默化兒童觀眾對於劇本主題的認知與認同。在賦予臺灣兒童劇本／戲劇的創新價值之時，《中華兒童戲劇集第二輯》也展現了戒嚴時期「兒童劇運」推行的成效，係兒童劇必須是服務於社會政治之國家的需要；同時也具備回歸兒童成長之文化目的。

Chinese Children’s Drama Collection Vol.2 was the result of Li Man-Kuei’s advocacy of children’s Dramas during Taiwan’s period of martial law (1949-1987). It was also the most representative series of children’s plays published by the China Arts Center. Submissions to the collection were solicited through newspapers, and were limited to plays above a certain production scale, and that had records of public performances after the government was moved to Taiwan. These plays involved stories of the childhoods of Chinese historical figures, fairy tales, and children’s fables. Themes included loyalty and filial piety, celebrating the spirit of Chinese culture, restoring people’s moral philosophy, exposing the tyranny of the communist government, and painting a bright future for the nation. There were ten plays in the collection: Adventures on Neptune, The Golden Apple, Search for Father, Catching Thieves, When Father Comes Home, Revival Elixir, Mountain Village Phantom, An Orphan’s Journey, Capturing Wolves, and Rainbow Spring. These provided materials for the Children’s Drama Exhibition, where schools from all over the country put on their own productions. The construction and communication of creative ideas in children’s Dramas were fairly widespread and influential. In this article, play analysis was adopted as the research method to analyze each play’s themes, plot, and language, in relation to Chinese traditional virtue and the Chinese psyche in Taiwan’s social orientation. Historical context and significance could also be deduced from the analysis of characters constructed within the plays. Research showed that at the time this collection was published, the nation was in a unique period when family, society, and morality tended to be conservative and serious. Yet the scripts did not aim to preach in a straightforward way; instead, playwrights used science fiction, fantasy, and plays within plays to help children see the amusement in everyday life and develop curiosity or fear in their unexplored world. This freed an originally serious theme from its rigidness, reconciling it into an entertaining and imaginative space to obtain children’s recognition and approval. While giving innovative value to children’s Dramas in Taiwan, Chinese Children’s Drama Collection Vol. 2 also displays the achievements of the children’s Drama campaign during the martial law period. Children’s Dramas served societal and political needs, in addition to the goal of influencing childhood culture.