歌仔戲是20世紀初葉發源於宜蘭，是目前臺灣民間最興盛的傳統戲曲之一，也是具代表性的傳統表演藝術。歌仔戲是以摻雜古典漢詩、漢文的文言文及閩南語（臺灣腔、廈門腔、漳州腔、泉州腔）為主的戲劇。早期演出內容多半為讓大眾也能接觸文雅辭彙或忠孝節義故事，是早期農業社會重要娛樂活動之一，也是臺灣常民文化的代表。歷經時代更迭曾幾度遭到打壓、排擠。步入當代的歌仔戲演出型式內容日漸豐富、多元、精緻，當代更出現許多享譽國內外的知名戲團與重要文藝傳承人。2009年頒定為臺灣文化資產之重要傳統藝術類。歌仔戲為發源於臺灣宜蘭的本土漢文劇種，約產生於臺灣日治時期1900年代前後。歌仔戲正式的雛形為宜蘭本地的落地掃，吸收車鼓弄等元素，慢慢發展成小戲。而後又學習崑曲、高甲戲、北管戲、京劇等各類大戲逐漸具備完整的戲曲形式。 隨著漢文化進入蘭陽平原，最初只是閩南漳州移民帶來其原鄉流傳的「歌仔」小調與當地流傳的「歌仔」與「車鼓」，便在宜蘭融合發展成為「本地歌仔」[2]。 而歌仔戲的創始者則眾說紛紜，有「歌仔助」歐來助[3]、陳高犁、貓仔源等說法[4][5][6]。本地歌仔在早期移民傳唱時，將多首歌仔套詞，形成完整的劇情，坐場清唱。爾後才加上角色扮演和動作，形成最初的型式，且稍具戲曲雛形的歌舞小戲，之後加入各種服裝及角色後，逐漸成為大戲[7]。 歌仔戲形成完整的戲劇表演後，由於採用閩南語演出，貼近民眾生活語言，且曲調採自歌謠小調，極受臺灣百姓歡迎，就連原本的大戲戲班如亂彈、高甲、京劇戲班都與歌仔戲合作，也促使歌仔戲吸收許多大戲的元素。1925年回傳入福建廈門，自此流行於閩南地區。1927年傳入馬來西亞、新加坡、菲律賓等地，自此逐漸風行東南亞華人地區，當地開始組織歌仔戲團。 臺灣日治時期，歌仔戲備受批判，以為猥瑣，甚至傷風敗俗。中日戰爭期間，日本殖民當局開始厲行皇民化運動，開始禁絕歌仔戲等漢人傳統戲曲演出，歌仔戲藝人只得改穿和服、佩帶武士刀演出，唱日本軍歌，宣揚日本當局政策，也促使歌仔戲胡撇仔的形成。日本戰敗投降，國民政府接管臺灣，放寬了歌仔戲演出。1947年，開始推行國語運動，臺灣省行政長官公署宣傳委員會有限度准許演出劇目。1950年代由於極力推展反共政策，要求戲劇改良，相繼成立「臺灣歌仔戲改良會」、「臺灣省地方戲劇協進會」、「臺灣省改良地方戲劇委員會」。演出女匪幹、延平復國、鑑湖女俠等戲。禁絕許多劇目，准演劇目多數強調忠孝節義，並推出多齣反共劇目
。 1971年，臺灣省政府公布〈加強推行國語實施計劃〉，1973年中華民國教育部公布〈國語推行辦法〉極力推展國語運動，臺灣閩南語備受壓抑。1976年頒布〈廣播電視法〉，限定閩南語節目播出時段、時數。 1970年代，因野台戲和歌仔戲的成員良莠不齊，加之唱演的方式漸走怪陸，國民政府不得不要求各臺主、班頭在訓練新進人員時須以小調先行教育，逐以黃梅調、民間傳說，最後加強演員素質。於是如後來的葉青歌仔戲、楊麗花歌仔戲等於後來搬上台的戲碼受到各層大眾肯定，尤其是搭配各省籍台灣人的方式，流傳至今。 經歷日治時期皇民化運動及國民政府來臺後推行國語運動壓縮、扭曲了表演形式與空間，在歷代藝人的努力傳承下，在臺灣本土化運動的推波助瀾下，歌仔戲重新獲得發展的動力。 1980年代，臺灣本土意識逐漸蓬勃，歌仔戲開始出現文化場，亦即舞臺歌仔戲。歌仔戲團進入國家戲劇院、各縣市文化中心表演。 2013年3月25日台灣發行第一張歌仔戲藍光光碟Blu-ray Disc，秀琴歌劇團安平追想曲、由公共電視台出版。
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Taiwanese opera (Chinese: 歌仔戲; pinyin: gēzǎixì; Pe̍h-ōe-jī: koa-á-hì; literally: 'Song Drama') commonly known as Ke-Tse opera or Hokkien opera, is the traditional drama form originated in Taiwan[1] . The language used is a stylised combination of both literary and colloquial registers of Taiwanese Hokkien. Its earliest form adopted elements of folk songs from Zhangzhou, Fujian, China. The story elements are traditionally based on folk tales of the southern Fujian region, though in recent years stories are increasingly set in Taiwan locales. Taiwanese opera was later exported to other Hokkien-speaking areas. Taiwanese opera is considered as the embodiment of Taiwanese history and tradition because the political identity crisis of Taiwan shaped its development.[2] Golden period: 1945–1962 After Taiwan was handed to the Republic of China, Taiwanese opera was revived and more than one hundred troupes were formed within a year. In 1949, there were over five hundred registered troupes.[9] Taiwanese operas entered into its golden age. During this time, Chen Cheng-san (陳澄三) founded “Kung Le She” (拱樂社) troupe and became the first person to use written scripts for performance. He commissioned Chen Shou-jing to write scripts of "Broken Dreams of the Red Chamber" (紅樓殘夢).[10] Even during its golden period, Taiwanese opera continued to face challenges and adapt to the changes in political and cultural environment. The rise of the new broadcasting medias including radio, film and television show, the influence and popularity of western pop songs and movies drew the general public’s attention and presented serious competition. During the martial law from 1949 to 1987, the KMT government revived the Mandarin Promotion Council and discouraged or, in some cases, forbade the use of Hokkien and other dialects. This and the shift of political environment provided little support for the Taiwanese-language based art form. The indoor performances decreased and opera troupes experimented performing on radio, film and television and large outdoor settings. Transformation Starting in 1954, Taiwanese operas performed on radios. In 1955, Chen Cheng-san filmed the first white and black movie of Taiwanese Opera “Xue Pin-Gui and Wang Bao-chuan” (薛平貴與王寶釧) and the premier was a huge success.[11] In 1962, Taiwan Television was established and started broadcasting Taiwanese operas. In 1982, Chinese Television System (CTS) Taiwanese Opera Troupe performed in Mandarin (instead of Hokkien). Televised operas are similar to soap operas and greatly increased the popularity of Taiwanese operas. However, certain traditional elements are lost because television shows feature less singing and body movements.[12] In the early 1980s Taiwanese opera was brought to the television audience, with Iûⁿ Lē-hoa as its popular face.[13] The artistic elements remained largely traditional, however. Taiwanese opera, like other forms of Chinese opera and theatre around the world, often traditionally uses cross-dressed performers (反串; fǎnchùan; hóan-chhòan), specifically women portraying men's roles in the case of Taiwanese opera. Modern and experimental forms show some propensity for syncretism. Western instruments such as the saxophone and guitar have been used in some performances. Loose Western adaptations have included Nikolai Gogol's The Government Inspector. Perhaps due to the influence of the Taiwanese localisation movement, stories set in Taiwan, as well as aboriginal characters and stories, have been developed in recent years. Taiwanese forms of the Hakka tea-picking opera show some influence. Fans of the opera attribute its continuing relevance to a willingness of performers to adapt to modern times in terms of style and artistic diversity.
cited from wiki, 交通部觀光局