Taiwanese Opera troupes in Taiwan resorted to similarly creative subterfuge, creating new story lines involving wandering samurai and their bushido lifestyle. These hybrid performances were known as ho pe la hi in Minnan dialect (meaning "mish-mash opera," but with "ho pe la" also being a pun on "opera").
而台灣的歌仔戲班也同樣不放棄尋求活路，將歌仔劇本改編成日本浪人拿武士刀的皇民劇，識時務接枝的演出也開啟了台灣日後「胡撇仔戲」的來源。