近年来,伴随着后现代数字技术在戏剧舞台美术中的大量应用,多媒体戏剧艺术作品层出不穷,多媒体京剧音乐戏剧正是此类戏剧艺术作品中的一枝奇葩。新艺术形态的背后往往存在着需要厘定的理论空白点,面对戏曲艺术虚拟性与数字技术虚拟性之间业已存在的间性差异,艺术虚拟与技术虚拟的视域交融需要在遵从戏曲本体艺术诉求的基础上展开,惟其如此,传统戏曲艺术的当代新生才不会在“技术垄断”的全球化时代丧失其本体性依据。 In recent years, with the mass application of postmodern digital technology in the theatrical stage art, multi-media drama works of art emerge in an endless stream. The multi-media Peking opera music drama is a wonderful work in such dramatic art works. Behind the new art form there are often gaps in theory that need to be determined. In the face of the existing inter-gender differences between the art of virtual art and the virtuality of digital art, the virtual horizon of art virtual and technology needs to follow the demands of the art of opera However, the contemporary freshmen of the traditional opera art will not lose their ontological basis in the era of globalization of “technology monopoly.”