本文試圖重新描繪戰後臺灣歌仔戲衰敗但未泯滅的社會意義。相對於過去以商業競爭、政治打壓的解釋觀點，本文採用語言改變理論蘊含的反抗內涵，強調歌仔戲在轉變中的抵抗精神。藉由1950至1970年代的麥寮拱樂社及其創作劇本為分析材料，先由口語文學、情節寫作技巧、音樂運用等特點論證拱樂社劇本是「多面向劇本」，再以「語言改變」概念討論拱樂社創作語言的混雜性，最後藉由「童生」及「小生的丑化」的現象說明劇本和表演之間持續交流的臨場演出性質。透過種種論證，解釋戰後臺灣歌仔戲面對政治環境作為，透顯了庶民文化因應變通與生機創造的可能性，因而拱樂社的社會意義，並不是消極被動的衰敗式消失，而是積極轉進的抵抗式重生。

This paper attempts to map out how subversion by the people can change the dominant powers and create new products. In probing creativity of the Taiwanese people in the controversial post-Japanese-colonial context, this paper takes the Gong-Le Troupe as main case study and offers an approach of‘multi-use scripts’to explore how the oral tradition was translated into written scripts, how the written scripts drew on many different resources for performance materials and how the improvisation resulted in the emergence of new characters. This process shows an indirect resistant process of popular theatre to go through different political changes. Furthermore, in relation with the theory of language change, it becomes a resource for people to subvert the dominant power will be reinforced.