本文提出，歌仔戲的品味認定自九0年代至今，經歷了以「精緻傳統」為俏到「在地胡撇仔」的轉變。儘管明華園白八0年代開始，即逐漸以蓬勃的創意與草根趣味嶄露頭角、縱橫臺灣劇壇，九0年代的臺灣傳統劇界，仍是以薪傳獎得主廖瓊枝為代表的「回歸傳統」以及河洛昂首的「精緻歌仔戲」為主流風尚。「胡撇仔」尚未被納入主流論述，I，烏白撇撇IIJIJJ仍是 它主要的界定。

2001年傳藝中心主辦的外臺匯演，胡撇(于首次登上官方舞臺，相關論述 與演出如雨後春筍般湧現，可謂一值得探討的現象。本文從變動的臺灣意識與身分認同觀點，談論歌仔戲在世紀之交的演變，及其與整個文化環境的脈動:當歌仔戲正在時勢的推動下邁自代表臺灣文化的「合法繼承人」道路時，首先經歷了形象洗條與尊嚴恢復的過程，即河洛以京劇與大陸戲曲為藍本提升歌仔戲形象，策略上頗有以彼之道、還施彼身之趣。接著，全球文化均質危機與「中國/臺灣」身分認同困擾中，臺灣致力尋求在地特色與歷史記憶，也使得象徵後殖民混雜情境的「胡撇仔」近年成為論述焦點。

本文的討論主要集中在九0年代初至2000年初，這段時間也正是「臺灣製造」的歌仔戲逐漸取代京劇地位的時期。本文對照這十幾年間臺灣風起雲湧的國族認同情形，探討此時歌仔戲本身的論述經歷了怎樣的轉變，並多方援引文獻與表演作品來呈現這些「權力話語」如何被建構的歷史過程。

This paper examines how and why the mainstream discourse of
gezaixi has undergone a shift from the “refined tradition” to “local opela”
since the 1990s. Even though the Minghuayuan Gezaixi Troupe has been
popular island-wide with its originality and grassroot charisma since the 80s,
the dominant forms of gezaixi in the 90s were the “refined gezaixi” practiced
by Holo Gezaixi Troupe and the “traditional gezaixi” advocated by the
Heritage Award winner Liao Chiung-chi. At this time, “‘opela’ was excluded
from the mainstream discourse, and “o-be-pe-pe-le,” meaning “doing in a
careless and perfunctory way” in Taiwanese, was its definition.
However, opela started to gain public attention in Taiwan since its first
entrance on the official stage in the government-sponsored relay outdoor
performances in 2001. Situated in a historical context, this paper discusses
the development of the discourses of gezaixi and how it responds to and
interacts with the changing Taiwanese nationalism and identity. I argue that
on its way to becoming the legitimate Taiwanese cultural representative,
gezaixi first went through an image purging and self-healing process: Holo
Gezaixi Troupe employs the performance of Peking opera and the scripts
written by Chinese playwrights to uplift the image of gezaixi. By recognizing
the cultural hierarchy, Holo strives to imitate its idealization (Peking opera)
and attempts to replace it. Further, the crisis of homogenization in the age of
globalization and the contested ‘Taiwan/China’ identity have compelled
Taiwan to seek its local features and colonial memories. Thus, the hybrid
opela has been brought into focus these years.
Widely drawing on literature and performance works, the paper intends
to demonstrate the historical process of how these discourses have been
constructed.