这个问题的问法显得很勉强又很别扭,但很多文章都是循着这个思路去作答的。而且多把问题囿于求是的目的里,很少兼顾其它。结果呢?就是仍跳不出单线的认识模式,没能从主客各个方面去把握对象,没能从内外关系及相互联系中真正揭示其特质,而获得不同的解释和发现。如果真要回答戏曲现代戏“是什么”或“不是什么”,那就必须建立新的研究起点,从终极原因把握它的存在,从它的存在说明历史与现状的联系,再从联系中剖析艺术特征及具体创作方法和美学原则的各种制约关系。我们长期以来,总以哲学认识论做为研究文艺的理论基础,这是容易混淆研究起点 The answer to this question seems reluctantly awkward, but many articles follow this line of thought. And more than asking for the purpose of the problem, rarely take into account the other. As a result, it still can not jump out of the single-line mode of understanding, failing to grasp the subject from all aspects of the subject and the guest, failing to truly reveal its traits from internal and external relations and mutual relations, and gain different explanations and discoveries. If we really want to answer the question of what is or is not, we must establish a new research starting point, grasp its existence from the ultimate reason, explain the relationship between history and the status quo from its existence, and then analyze the art from the link Characteristics and specific creative methods and aesthetic principles of the various constraints. For a long time, we always regard the theory of philosophical epistemology as the theoretical basis for the study of literature and art, which is easy to confuse the starting point of the study