臺灣歌仔戲根植於民間歲時節慶與生命禮俗，體現著人們的生活習俗與情感信仰，向來以「廟會外臺」作為維繫命脈的主要「戲路」所在，顯現著宗教儀式功能的民間文化傳統；然而隨著市場經濟與消費文化的發達，傳統戲曲也陸續開發了「戲院內臺／大眾傳媒／現代劇場」等展演場域與演出載體，形成了以休閒娛樂為目的的社會經濟行為，作為商品或產業可製作生產再營銷給觀眾欣賞。有別於廟會民戲以「神明」為主要的觀眾對象，其他演出場域或載體基於商業票房或文化推廣的考量，都必須藉由「宣傳」來傳遞演出訊息，以說服、影響、吸引乃至於號召觀眾前來看戲。而這些演出先鋒的「報馬仔」，也隨著市場需求而有所繼承與變革。如戲路表、戲單、海報、宣傳照、報紙廣告與通俗讀物的廣告與報導、廣告看板、路燈旗與燈箱等，皆可歸屬於以文字與圖照為主要元素的宣傳品，或在書面刊載或在戶外懸掛著；至於幕間廣告、踩街遊行、隨片登臺、記者發佈會、示範講座等，主要在於由團主或演員現身說法的說唱宣傳；而當前最時興的演出宣傳，莫過於跑馬燈、電子報、電子郵件、手機簡訊、網站、部落格與Youtube等影視媒體與科技網絡的新產物等，都隨著歌仔戲演出型態的變異與時代的演進，因應發展出多元變遷的演出宣傳形式。

Rooted in the cultures of festivals and ceremonies, Taiwanese Ge-tz Opera represent people's lives and beliefs. Outdoor stages at temple fairs, on the other hand, have been the place where this opera continues blooming and maintaining as a tradition of folk culture and religious ritual. However, as the market economy and consumer culture prospering, traditional dramas have been adapted to perform in indoor theatres and modern theatres, or to be promoted through the mass media. They are also, to meet the need of consumers who seek entertainments, made into commodities. Different from the main audiences of temple fairs-the God, audiences of modern theatres are always drawn to theatres by advertisements that are used for the sake of box office or cultural promotion. These "vanguards" of performances have undergone transformation in accordance with market needs. Programs, posters, photos, newspaper advertisements, popular magazines, bulletin boards, street light flags and lighted box, for instances, are advertisements that focus on words and pictures. Ways of advertising Ge-tze Opera include also commercials between acts, parades, performing while screening, news conferences, show and tell, troupe leader or actors (actresses) performing or publicizing themselves. Yet nowadays, marquee, newsletter, e-mail, cell phone text message, website, blog or Youtube seem to be the trendiest way to advertise. With the shift of performing style and time, the advertisement of Ge-tz Opera has been thus varied.