馬來亞華僑與中國的政治社會聯繫，早於二十世紀初隨中國局勢劇烈丕變而始。因 應革命建國、天災人禍或抵抗外侮等，大量話劇義演籌款活動於馬來亞絡繹不絕。尤其自 1937 年「七七事變」促使中日戰爭全面爆發後，愈加激起華僑強烈的愛國意識，以抗戰 為第一目標的救亡實踐理念，使戲劇運動達到前所未有的巔峰。同年，由當地人士及中國 南來文人組成的「業餘話劇社」，因人才濟濟成為抗戰初期領導馬來亞當地話劇發展的重 要劇團。 「星洲業餘話劇社」核心幹部實為馬共外圍組織「文抗」成員，劇社更為該組織的活 動中心。綜觀其兩年間活動足跡，除配合中國時局宣傳抗戰政治意識與籌款救國，展現自 身左翼色彩政治認同外，亦鼓勵演出具南洋本土色彩的劇作，且注重戲劇的藝術性。因此， 從劇社的創作、展演、劇評和各種文字資料記載觀之，可發現劇社組織架構完備且縝密。 他們不僅透過話劇演出與左翼團體聯繫，在演劇籌賑中藉助「救亡意識」激發當地華人對 祖國與民族意識的想像外，亦嘗試製作演出保有藝術性的戲劇作品。儘管，劇社成員對戲 劇藝術的眼界、實踐能力與組織能力，使其成為當時戲劇文化界的領導者與藝術指標，但 與此同時，亦因其政治上的積極參與和勢力擴張，終導致解散的命運。

The political and social connections between the Malayan overseas Chinese and China originated in
the drastic turmoil in China of the early twentieth century. In response to the revolution for a new country,
natural and man-made disasters, or resistance to foreign invasions, numerous charity performances of
drama and fundraising activities thrived in Malaya. Especially after the Marco Polo Bridge Incident
in 1937, which escalated into the full-scale outbreak of the Sino-Japanese War, the Malayan overseas
Chinese further aroused a strong patriotism, emphasizing the practices of the anti-Japanese war as the
imperative of rescuing the country, bringing the theater movement to an unprecedented peak. In the same
year, the Sin Chew Amateur Drama Society ( 星洲業餘話劇社 ), composed of locals and literati from
southern China, emerged as a leading theater troupe spearheading the development of local drama with
its abundant talents in Malaya during the initial stages of the Anti-Japanese war.
The core members of the Sin Chew Amateur Drama Society were affiliated with the Malayan
Communist Party’s peripheral organization Cultural Anti-Enemy Support Association ( 文抗),
and this drama society as the hub for the organization's activities. Looking at the society’s two-year
activities echoing to China’s situation , in addition to the promotion of anti-Japanese war, the country
rescued fundraising, and the display of its left-wing political identity, it also encouraged the staging
of dramas with a Nanyang regional vein and the artistic features. Therefore, based on its productions,
performances, the reviews of them, and various textual records, it can be found that the structure
of the society is fledged and meticulous. It not only connected with left-wing groups via dramatic
performances, aiming to kindle the local Chinese’s imagination of motherland and national identity
by resorting to their crisis consciousness, but also produced and staged artistically rich dramatic
works. Despite the fact that, due to their horizons of dramatic art, their abilities in both practices and
organization, its members were regarded as the leaders and art indexes in the theatrical culture of that
time, their activeness in politics and expansion in influences ultimately led to their dissolution