馮叔鸞作為活躍於民國初年的報刊劇評家之一，身兼編、演、評數職。作為劇作家，他創作了十餘種戲劇劇本，其中不少曾經被搬上舞台。作為戲劇活動家，他經常客串戲劇演出，創辦過戲劇雜誌，並參與過戲劇教育工作。作為戲劇批評家，他發表了大量劇評文章，兼及戲劇常識的介紹與戲劇史料的搜集整理。其中，集結成冊的有《嘯虹軒劇談》一書，其餘則散見於當時各類報刊雜誌之中。 本文以馮叔鸞之戲劇評論，及其提出的「戲學」概念為主要研究對象，將其置於新舊並陳的民初劇壇，以及戲劇理論批評近代化轉型之大背景下，通過對其戲劇活動資料的盡可能搜集與整理，在完善其個人資料的同時，深入分析其劇評文章，歸納總結其戲劇觀及企圖建構的戲劇批評體系。並試圖給予這一因歷史原因而多有被忽視的人物更多關注，以及相對公允合理之評價。 馮氏「戲學」之批評面向主要包括戲劇本體、編劇、演員、表演、劇場、觀眾以及戲劇與社會之關係等，而其新舊並重、分而論之、融會貫通的改良觀則始終貫穿於各個面向之中。「戲學」之實踐與應用，還可從其戲劇批評觀中展現，通過對於劇評界時弊之針砭，馮氏提出了自己對於劇評的界義，以及劇評家所應當具備的學識及道德水準。馮氏「戲學」概念的提出，尤其是囊括新舊的批評範疇，以及將「戲學」樹立為一門獨立學科的願景，無疑對學科界定意義重大，或可謂為現代戲劇學學科建立之先聲。 / Feng Shuluan was one of the most famous drama critic in the early Republic of China. As a dramatist, he wrote more than ten scripts, most of which were staged. As a dramatic activist, he took part in many performances and dramatic education activities, as well as dramatic magazine editing works. Moreover, he wrote extensively on several topics as a drama critic, including dramatic basics and the history of drama. Some of them were later put together in the book <Xiaohongxuan’s drama criticism>. Others were published on the newspapers and magazines. This study regards Feng Shuluan’s drama criticism as the main research object. While collecting original data of him, special attention is paid on this nearly forgotten historical figure and his dramatic theory. With the analysis of his work, this study will endeavor to give him an adequate appraisal. Feng Shuluan’s dramatic criticism includes ontology, function theory, script theory, performance theory, theatre theory, audience theory and improved theory. He found out many problems of the critics at that time, and proposed the knowledge and moral standard a drama critic should possess. He tried to establish his drama criticism including both Chinese traditional opera and western drama as a new subject, which was a significant development of the dramatic theory and criticism.