在台湾现存的歌仔戏演出形态中,野台歌仔戏是最常见的表演样态。野台歌仔戏有日夜之分,分别称作日戏与夜戏。日戏固守传统,其音乐从唱腔曲调的选择到后场伴奏的风格都是演员与乐师协作与灵活应变的结果,其音乐运用的模式是与“做活戏”的演出体制相适应的。夜戏“胡撇仔”是歌仔戏的变异形式,原是文化殖民的产物,现已发展成为当下野台歌仔戏夜间的常见形式,其音乐失去了传统戏曲的程式性,音乐中混合着流行歌曲、戏曲唱腔和各种笑料,曲目无所不包。传统与变异表征了台湾野台歌仔戏乃至社会文化的二元对立性。 Among Taiwan’s existing forms of Taiwanese opera performances, Taiwanese opera is the most common form of performance. There are nights and nights in Kokai Taiwanese opera, which are called Japanese play and night play respectively. Japanese play sticks to tradition, the music from the choice of tunes to the style of backcourt accompaniment is the result of the collaboration and flexibility of performers and musicians. The mode of music use is compatible with the performance system of “doing live play”. Night play “kuonizi ” is a variation of Taiwanese opera, originally a product of cultural colonization, and has now developed into a common form of nocturnal Taiwanese opera at night. Its music has lost its stylistic appeal to traditional operas. The mix of music is so popular Songs, opera aria and a variety of jokes, tracks are all-encompassing. Tradition and variation characterize the dual opposition of Taiwanese Taiwan opera Taiwanese opera and even social culture.