過去幾世紀，因為戰爭和經濟等因素，龐大的華人群體持續從中土外遷，在海外各個角落建構了或集中或分散的華人居住帶，從而將華人文化傳播到世界各地。臺灣以其特殊的歷史背景，諸多因緣會合，成為其間重鎮。研究華人文化，不可忽略海外華人的成果，同樣的，研究臺灣歌仔戲，亦不可忽略歌仔戲流播至海外的發展，特別是大陸福建及新、馬二地。學界對大陸薌劇的關注頗多，近年來，擁有一定觀眾群的新、馬「福建戲」（演出歌仔戲）也逐漸受到注意，研究成果卻失衡的偏重新加坡。馬來西亞的民間職業歌仔戲班和新加坡一樣，皆承襲了臺灣歌仔戲「做活戲」（幕表戲）的運作機制。本文首先回顧馬來西亞歌仔戲流傳的背景條件和研究概況；探析馬來西亞在地職業歌仔戲班目前所面臨的現實處境、活動情形與經營策略，並以其間最具歷史地位和重要性的「麒麟」閩劇團為核心，透過劇團一份珍貴的內部資料，分析其「常演劇目」除了繼承臺灣歌仔戲劇目外，如何從多劇種與多文化的土壤中，汲取養料，展現在地新編劇目的創造力。最後，以「麒麟」閩劇團與臺灣演員的一次合作演出為例，說明馬來西亞的在地職業歌仔戲班，如何落實其經營策略，既聯合、又抵拒當前的強勢文化和娛樂，與純「歌臺」表演和來自中國的薌劇及泰國的潮劇團相競爭。不僅反映所處的環境，亦在其求生存的選擇中，建構了多文化混雜、交融下的新「傳統」。

Over the past centuries, large groups of Chinese people emigrated from Mainland China to flee from wars or to make a better living. These Chinese people spread Chinese culture to every corner of the world by settling down in other lands and establishing centralized or dispersed communities. Taiwan, with its unique historical background, happened to be one of the most significant destinations. As the study of Chinese culture should not neglect the legacy passed down by the overseas Chinese, the study of Taiwanese folk opera (or gezaixi) should not leave out its dissemination and development abroad, especially in Fujian of Mainland China, Singapore, and Malaysia. So far, xiāng jù (a type of gezaixi which is commonly performed in Fujian) has gained much scholarly attention. Over the past few years, ＂Fujian opera＂ (also known as 'performed gezaixi'), popular with a specific audience in Singapore and Malaysia, has also come into the spotlight in academia. However, most of the research findings focus on the development of gezaixi in Singapore. Malaysia has not been given its due attention. As they do in Singapore, professional gezaixi troupes in Malaysia inherited the way of performing originating in Taiwan, namely tsò-uàh-hì (做活戲), also known as ＂extemporaneous performance.＂ This paper will start from reviewing the background of gezaixi's development in Malaysia and the current research on this topic. It will then focus on Kî-lîn (麒麟) Professional Hoklo (Min) Opera Troupe, the most important and long-existing troupe in Malaysia, to explore the recent challenges faced by local professional gezaixi troupes, their performance, and operational strategies. Thanks to an internal document of Kî-lîn, we can see how these troupes creatively enriched their ＂repertoire＂ of frequently performed works by integrating diversified cultures in Malaysia and internalizing various ways of performing. Lastly, to demonstrate the operational strategies of the Malaysia-based troupes, a collaborative performance by Ki-lin Professional Hoklo Opera Troupe and Taiwanese gezaixi artists will be taken as an example. This example will show how they benefit from and resist the popular culture and entertainment trends to compete with ＂singing-stage＂ (歌臺) performance, xiāng jù of China, and the Teochew opera troupes in Thailand. Every strategy they adopt and decision they make not only reflect the environments in which the professional gazaixi troupes struggle to survive, but also form a new ＂tradition＂ through integration of diversified cultures.