庶民間流行的休閒行為通常候起候落，但是當前臺灣有兩項庶民休閒行為，雖經長時間的淘洗，不但未見衰微，反而更形芳醇'可謂歷久彌新。一是到廟口看歌仔戲，另一是唱卡拉OK(KTV)休閒行為。

廟口歌仔戲的演出，在廟會活動中，曾經淪為聊備一格，娛神之外少有人看。但是，近年來出現幾個頗為用心的劇團，如臺南秀琴歌劇團、高雄春美歌劇團、屏東明華園天字團，每次的演出都能吸引二、三百個人圍觀，把廟埋擠得水洩不通，而逐漸引起不少廟宇的重視。這些廟宇的管理委員們強烈地認為，神明聖誕比人問過生日更應重視熱鬧的節慶氣氛。因此，有越來越多的寺廟爭相聘請這類的劇團演出。在此情況之下，I聘戲演戲 看戲」構成一個依存鏈的關係，好看的戲才有人願意聘潰，也才有人看;有人看的戲，才能營造歡樂氣氛，達到廟方為神明過生日的日的;而劇團要能吸引觀眾，成為有人看的戲團，自IJ必須隨時掌握庶民休閒行為的口昧與偏好。因此，當前庶民看戲的偏好，無形中影響了歌仔戲的演出形式與內容。
臺灣的卡拉OK(KTV)歌唱娛樂約起於八0年代，今年(2006)更在新聞 局臺灣意象的票選中躍居前矛。庶民對歌唱的熱衷，與對流行老歌的喜愛，某種程度上助長了胡撇仟戲中流行歌的演唱，幾乎每一個劇團都木能避免使用這一類的音樂，有些劇團甚至以唱流行老歌為主，傳統歌i于調為副。這種現象說明了唱卡拉OK(KTV)的休閒行為，對歌i于戲的影響是值得關注的。

　　本文針對上述三團的演出，做實地觀察與記錄，舉實例說明當前這兩種 庶民休閒行為對歌仔戲所造成的影響。

Tastes for recreation among the public are constantly changing.
However, two forms of popular recreation in Taiwan have endured the shifting
trends and grown ever stronger. They are open-stage koa-a opera and
karaoke.
The open-stage koa-a opera had once been merely a form of festivalrelated
performance, which leans heavily on its ritualistic function rather
than recreation. Nevertheless, a few koa-a opera troupes from southern
Taiwan -- such as Xiuqin from Tainan, Chunmei from Gaoxiong, and
Minghuayuan from Pingdong -- have been able to attract a crowd of several
hundred people with each performance. Their huge appeal naturally earns
the temple administrators’ attention. To create an animated and cheerful
atmosphere, more and more temples compete to sign up such troupes to
perform on their deities’ birthdays. Under such circumstances, signing up
opera troupes, opera performances and audience form a three-way dependency
chain. A good opera troupe wins more contracts. To become a good
opera troupe, it has to orient its performances according to the public taste.
Therefore, the audience’s taste determines an opera troupe’s style of performances
as well as its content.
Karaoke as an recreation form approximately began in the 80s. It was
voted as one of the most representative images of Taiwan in 2006. The public’s
fondness of singing and popular old songs, in a way, influenced the
popular tunes of koa-a opera, almost all of them use popular tunes of the
old times. Some even sing predominantly such tunes and supplement them
with traditional koa-a tunes. It indicates that the karaoke’s influences on koaa opera deserves our attention.
This article describes the author’s observation of the three opera troupes
and give examples to illustrate the two forms of popular recreation’s influence
on koaa opera.