1932年1月台灣「鳳凰男女班」，受邀至印尼商演，路過石叻坡臨時被僑商邀請至牛車水「梨春園戲園」，自此開啟台灣歌仔戲在星洲的展演扉頁。石叻坡、新嘉坡、星洲與星島，均為新加坡舊稱，本隸屬於「海峽殖民地」，後成為「馬來西亞聯邦」成員，1965年獨立成為「新加坡共和國」（Republic of Singapore）。由於新馬地域相連，且均有不少福建人聚居，因此使用「閩南方言」的台灣歌仔戲，深受兩地閩南族群觀眾的喜愛，陸續邀請台灣歌仔戲班前往商演，不僅培養大批戲迷觀眾，且催化在地劇團轉型及歌仔戲班成立。1941年底太平洋戰爭爆發，台灣歌仔戲赴星洲的展演交流中斷。二戰後國際局勢漸趨穩定，著眼於政治認同與商業經濟的考量，一九六〇年代陸續有「新台光」、「柏華」、「牡丹桂」、「日月園」與「三弘珠」等歌仔戲團受邀至新馬商演，並在當地錄製唱片及在廣播電台播送。有鑑於「一九六〇年代」台灣歌仔戲「重啟」星洲展演的通路，而這段歷史因時代久遠與史料蒐羅不易，罕被全面記錄。本文彙整報刊廣告、文獻史料、公家檔案、戲單唱片、口述訪談等研究策略，全面梳理建構一九六〇年代台灣歌仔戲在星洲展演的歷史印記，進而挖掘探析受邀劇團與新馬綁主的關係網絡，物質唱片與廣播媒介的流動傳播，及在地戲班對台灣歌仔戲的劇藝採借與交流影響等展演現象。

In January 1932, a Taiwanese troupe called Feng Huang Nan Nu Pan (Phoenix Men and Women troupe) was invited to perform in Indonesia. When they passed through Selatpore, they were also invited to perform in the Li-Chun yuan theater in Chinatown by overseas Chinese merchants from southern Fujian. Since then, they started the first page of Gezixi’s performance in Singapore. The former names of Singapore include Selatpore, Sin Chew, Sin island, etc. Singapore was part of Straits Settlements and later became a member of Federation of Malaysia before becoming Republic of Singapore in 1965. On account of the geographical connection between Singapore and Malyasia and the fact that there were many fujian immigrants living together, gezixi that using hokkien dialect was deeply loved by audiences from Southern Fujian. They not only invited gezixi troupes one after another to perform, but also cultivate a large number of gezixi’s local fans. It catalyzed the transformation and establishment of local gezixi troupes. At the end of 1941, when the Pacific War broke out, the communication of gezixi troupes with Singapore was interrupted. After World War II, as the international situation returned stable, based on political identity and commercial economic considerations, some troupes such as Hsin T'ai Kuang, Po Hua, Mu tan kui, Jih Yueh yuan, San Hung Chu, were invited again to perform in Singapore in the 1960s. Due to the fact that it has been a long time till now, it becomes difficult to collect and record historical data of performance in this period. This paper synthesizes newspaper advertisements, literature and historical materials, official documents, playlists and records, and oral interviews to comprehensively construct the historical impression of Taiwanese Gezixi's performance in Sinchew in the 1960s, and also explores and analyzes the network constructed between troupes’ employers and fans in Singapore and Malaysia, the flow between material records and broadcast media, and the communication between Taiwanese troupes and Singaporean local opera troupes, etc.