戰後，歌仔戲曾經是臺灣商業娛樂界的主流。但隨著時代的轉變 與各不同劇種的競爭，以及西洋電影大舉引進，歌仔戲的演出空間快速 萎縮。面臨如此惡劣環境，它向新（話）劇劇團學習，模仿他們從電影 取材改編演出的所謂「電影舞臺化」；同時也將舞台上不易表演的劇情 與橋段，插入電影片段作補充，而稱為「舞臺電影化」。這兩種表演方 式，自民國41年（1952）起至民國50年（1961）止，10年之間，曾經 締造了連演一個月與橫掃臺北地區幾家戲院的佳績。這樣的演出方式， 雖然只是歌仔戲發展進程中一段不同於以往的表演型態，但於歌仔戲發 展史上，是一段不能忽略的過程，值得整理、論述，補入臺灣歌仔戲發 展史的一個章節。

After the WWII, Taiwanese Opera had been the main stream of the entertainment in Taiwan. However, as the time moving on, more and more drama styles, especially the western movie, were introduced to Taiwan. Result from the fierce competition from the other drama styles, there were less and less performance space for Taiwanese Opera. Suffering such tough challenge, Taiwanese Opera began to introduce new technique from other drama styles: they obtained materials from movies, so–called "stage of the film"; at the same time they also inserted movie clips as support of those segments which were difficult to perform, so–called "film of the stage". The two performance styles had created some one–month sweeps and the success in several theaters from 1952 to 1961. Even though such performance styles are only some patterns different from those old ones, they are still a negligible process in the history of Taiwanese Opera. Therefore, it is worth to do such a statement for the two performance styles to complete the history of Taiwanese Opera in Taiwan.

歌仔戲；新劇；電影舞臺化；舞臺電影化；連鎖劇

Taiwanese Opera；Modern drama；Stage of The Film； Film of The Stage；lian–suo–jvju