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晚清至民初是中国古典戏曲研究从传统向现代转型的时期。焦循、梁廷楠、姚燮、俞樾等人的戏曲评论与研究中,宗元倾向非常明显,为元曲“一代之文学”观念注入了丰厚的理论积淀与材料基础,并直接影响了王国维的戏曲研究。王国维对元剧“文章”的重视,对“自然”观念的强调,对“悲剧”、“意境”等的阐释,固然有传统诗文、戏曲观念的影响,但与晚清戏曲家的建构更为前后相接,吸纳借鉴之迹明显。他融中国传统戏曲观念、研究方式与西方文艺理论为一体,借助于对元杂剧的研究推举现代学术观念,完成了中国古典戏曲的现代转型,也促成了现代戏曲研究格局的形成。
The period from the late Qing Dynasty to the beginning of the Republic of China was the period from the tradition to the modern in the study of Chinese classical opera. Jiao Xun, Liang Tingnan, Yao Xie, Yu Xun and others in the opera criticism and research, the progenitor tendency is very obvious, for the yuan music “generation of literature ” concept into a rich theoretical accumulation and material basis, and has a direct impact on Study of Wang Guowei ’s Drama. Wang Guowei’s emphasis on Yuan drama “Articles ”, the emphasis on the concept of “nature ” and the interpretation of “Tragedy ” and “Artistic conception ” have the influence of traditional poems and drama concepts. However, the construction of opera composers in the late Qing Dynasty was more connected with each other, and obvious absorption was drawn. He integrated traditional Chinese opera concepts, research methods and western literary theory into one. With the help of research on Yuan Zaju, he proposed modern academic concepts and completed the modern transformation of Chinese classical operas. He also contributed to the formation of modern Chinese opera studies.