自从2001年中国昆曲被列人世界非物质文化遗产代表作名录以来,“非遗”这个全新的概念开始进入人民大众的视野,给正处于“戏曲危机”中的中国戏曲和戏曲人带来新的希望和期盼,无疑也给戏曲艺术的发展指明了方向。争取成为国家级、省级非物质文化遗产,是各剧种适时而动的、有益的生存策略,而在成为非物质文化遗产之后该怎么保护、传承和发展,同样是需要深入思考的问题。河南曲剧是河南第二大剧种,尽管只有80多年的历史,但它形成过程复杂,不同流派艺术各具特色,代表演员和代表剧目众多,目前各地、各剧团的现状都不尽相同,需要长时间、深人地研究。本文试图从剧种特质、剧目创作传承和剧团生存现状三 Since the list of the world’s intangible cultural heritage in Kunqu was listed in 2001, the brand new concept of “non-legacy” has begun to enter the public’s perspective and give Chinese opera and opera people in the “crisis of opera” Bring new hope and hope, no doubt also to the development of opera art pointed out the direction. To become a national intangible cultural heritage at the provincial level is a timely and beneficial survival strategy for various operas. However, how to protect, inherit and develop after becoming an intangible cultural heritages is also a question that needs further consideration. Henan Qu Opera is the second largest opera in Henan Province. Despite its history of more than 80 years, it has a complicated process of formation. Different genres of art have their own characteristics, representing a large number of actors and representatives. At present, the status quo of various troupes is different and long Time, in-depth study. This article attempts to show the inheritance and the survival of the troupe from the genre characteristics of drama three