戏曲艺术的代言体有独白与对话两种最基本的表现形式。独白一般表现为三种方式，即人物形象代作家立言、人物内心情感的外泄和人物内心主客体对话。以文词派传奇作品为代表的人物代作家立言的独白方式和以汤显祖传奇作品为代表的人物内心情感外泄的独白方式，奠定了明清传奇戏曲抒情方式的基本特性，展示出明清时期文人曲家复杂的文化心态。在明清传奇戏曲中，既运用曲词进行对话，也采用曲白相生的对话，多种对话方式转换自如，浑无痕迹，形成多声部的抒情场面。与独白相比较，在戏曲作品的对话中，多种声音竞相鸣放，都具有对话的平等性，这就表现出对唯一的话语权威的反抗 The endorsement of opera art has two basic manifestations of monologue and dialogue. Monologue is generally manifested in three ways, namely, the character image on behalf of the writer Li Yan, the inner feelings of the character leak and inner dialogue between the subject and object. The soliloquy of Li Yan, a representative of the writers represented by lexicographical works of literary figures, and the soliloquina of inner emotions, represented by the legendary works of Tang Hsien-zu, laid the basic characteristics of the lyrical way of legendary drama in the Ming and Qing dynasties, Qu family complex cultural mentality. In the legendary operas of the Ming and Qing dynasties, we not only use the lyrics to talk but also use the dialogues of dialogue between different voices and the dialogue between different kinds of dialogues to create a lyrical scene of multi-voices. Compared with the soliloquy, in the dialogues of opera works, various voices compete with each other, all have the equality of dialogue, which shows the resistance to the only discourse authority