在全面抗战的时代大潮和剧运自身需要的感召下,上海孤岛发生了一场激烈的改良文明戏论争。论争主要围绕改良文明戏有无必要价值、有无负面影响以及如何改良而展开,在理论和实践上产生了一些积极影响。但由于功利主义的目的、建设性理论的匮乏以及文化人固有的偏见,论争存在很大的理论局限;相应的改良实践也显得盲目、机械和狭隘,最终仍难免失败。而其中的教训,却值得我们反思。 Under the tide of the era of full-scale resistance to war and the need of theaters themselves, there was a fierce dispute over the improvement of civilized opera in Shanghai’s isolated island. The controversy mainly centered on whether there is any unnecessary value of improving civilized play, whether it has negative influence and how to improve it, which has had some positive influences in theory and practice. However, due to the purpose of utilitarianism, the lack of constructive theories and the prejudices and prejudices inherent in the literati, there is a great theoretical limitation. The corresponding improvement practices are also blind, mechanical and narrow, and ultimately fail to fail. The lessons of it, but it is worth our reflection.