秦腔要振兴,就必须改革。但如何改革,意见尚有分歧,特别在对“秦腔姓秦”这个问题上,就有着几种不同的理解。秦腔姓秦的具体含义,除了体现秦腔戏曲个性的独特剧本外,主要似乎表现在表演形式、音乐唱腔和语音等三个问题上。这些问题都是秦腔改革必须触及的问题。本文现只谈表演形式方面的问题。表演形式的程式化、虚拟化,是中国戏曲表演形式的共性,也是秦腔姓秦的重要标志之一。我这样提的主要用意并不在于想把秦腔和中国其它剧种进行对比,而在于要将表现型的中国戏曲与再现型的西方戏 To revitalize the Qin chamber, we must reform. However, there are still differences of opinion on how to reform the system. In particular, there are several different understandings on the issue of “Qin, Qin and Qin.” The concrete meaning of Qin’s surnamed Qin is mainly reflected in the three forms of performance form, music singing and voice besides the unique script which embodies the uniqueness of Qin opera. These problems are all issues that must be touched upon by the Shaanxi reform. This article will now talk about the performance aspects of the problem. The stylization and virtualization of performance forms are common features of Chinese opera performances and are also one of the important symbols of Qin, Qin and Zhou. The main purpose I mentioned in this way is not to compare the Shaanxi opera with other Chinese operas, but to combine the expressive Chinese opera with the reappearance of Western drama