清代的戏剧理论发展主要在初期和中期。乾、嘉以前为初期,戏剧代表作是洪昇《长生殿》和孔尚任《桃花扇》,当时有“南洪北孔”之称。戏剧理论则一方面承继明代中期以来的戏曲评点,而有金圣叹批《西厢》、吴人批《长生殿》、孔尚任自批《桃花扇》及毛声山评《琵琶记》等;李渔《闲情偶寄》,对戏曲创作和剧场艺术的系统化研究。是王骥德之后集其大成的理论家。另一方面,各地方声腔剧种日趋发展,李调元《剧话》为之辩解,给予地方剧种以正统文学的地位,这种通达之见,在曲论体系中是寥若晨星的。乾嘉以后,地方戏曲繁盛,戏剧学家才把注意力集中在地方剧种的领域上(称为“花部”或“乱弹”),同时也关注舞台艺术的研究,于是戏剧理论转入 The development of dramatic theory in the Qing Dynasty mainly in the early and mid-term. In the early days of Qian and Jia, drama masterpieces were Hong Sheng’s “Palace of Eternal Youth” and Kong Shangren’s “Peach Blossom Fan”, which was then called “South Hong North Hole.” On the one hand, drama theory inherits the commentary on opera since the middle of the Ming Dynasty, while there are Jin Shengtan’s “West Wing”, Wu’s Mansion “The Palace of Eternal Youth”, Kong Shangren’s “Peach Blossom Fan” and Maosheng Mountain’s “Pipa” Leisurely couple “, the systematic study of opera creation and theater art. After Wang Jide set its culmination of theorists. On the other hand, the local vocal play style is developing day by day. Li Tze-yuan’s ”drama“ justified it and gave the local operas the status of orthodox literature. This kind of understanding is rare in the music theory system. After Qianjia and the local operas flourished, the theatrical scholars focused their attention on the field of local operas (known as the ”Flower Department“ or ”Luanbu") and also on the study of stage art, so the theory of drama was transferred