2008年唐美雲歌仔戲團於國家戲劇院演出歌仔戲《黃虎印》，該劇是施如芳改編自姚嘉文的同名原著小說，是臺灣大河歷史小說改編為傳統戲曲的作品。傳統戲曲界的「本土化」早已於90年代開啟，至今仍是方興未艾的議題。本文先就臺灣傳統戲曲史上以本土為題材的劇作進行整理與爬梳，範圍包括歌仔戲、京劇、豫劇戲曲劇種，藉以看出《黃虎印》在臺灣傳統戲曲劇場上的價值與意義。此外，施如芳所編創具臺灣意識的幾部劇作，《黃虎印》可視為她歷史書寫系列之第一部，編劇家關懷國族身分與土地認同的精神昭然若揭。《黃虎印》劇中不同人物因為1895年短暫的臺灣民主國的成立，而對於身體自主的掌握出現變動，包括遺民身體的犧牲、新國民身體誕生，他／她們在局勢不明的社會動盪中，在歷時性與共時性的社會進程中所顯露的差異／交混、對話／獨白，凸顯出劇作家歷史書寫觀的文化現象與深層意涵，本文試圖從劇作家對於人物形象的刻劃與形塑，藉以探看《黃虎印》劇本的歷史書寫。

Tang Mei Yun Taiwanese Opera Company performed Taiwanese opera The Seal of 1895 at the National Theater in 2008. Adapted by Shi Ru-Fang from the original novel of the same name by Yao Chia-Wen, the play is a work of adaption from a Taiwan’s historical roman-fleuve into a traditional opera. The “localization” of traditional opera has already started in the 1990s and is still a burning issue. The article first organizes and sorts out the plays with local themes in the history of Taiwanese traditional opera, including ones of Taiwanese opera, Beijing opera, and Henan opera, so as to unveil the value and significance of The Seal of 1895 in Taiwan’s traditional opera theater. Among the several plays with Taiwanese consciousness that Shi Ru-Fang has written, The Seal of 1895 can be regarded as the first in her historical writing series, where the playwright’s spirit of caring about national identity and place identity is clearly revealed. In The Seal of 1895, the establishment of the short-lived Republic of Formosa in 1895 brings changes to different characters’ control over their body autonomy, involving sacrifice of remnant bodies and birth of new national bodies. The differences/ interfusions and dialogues/monologues these characters disclose in the middle of social unrest of unclear situations and the diachronic and synchronic social process highlight the cultural phenomena and deep meaning of the playwright’s reflections within her historical writing. The article attempts to explore the historical writing of the play of The Seal of 1895 from the characterization and shaping of the characters by the playwright.