西方戏剧界对中国戏曲的参照意识是到了20世纪才逐渐形成的。最明显的标志,是30年代围绕着梅兰芳访美、访苏而展开的热烈的评论和讨论。梅兰芳的这两次出国访问演出,乃是中国戏曲对西方戏剧界的空前强大的冲击波,为西方戏剧界认识中国戏曲在世界戏剧之林中的独树一帜的地位,打下了难以动摇的基础。梅兰芳在赴美之前作了长时间的精心准备。在艺术上他得到了“外界”师友齐如山、张彭春的指导。齐如山在美国之行中的作用,由他本人撰写的《梅兰芳游美记》有过比较详细的记述。张彭春的作用,齐如山在给《申报》写的《缀玉轩游美杂录》中简单提到过,远不清晰,近由马明《论张彭春与梅兰芳的合作及其影响》一文作了重要的考据和补正。正是在这两位师友的指导帮助下,梅兰芳的演出在当时是代表了传统京剧经过改进后的最新风貌的,并且,他们研究了美国观众的可接受性,对节目作了审慎的集锦式选 The awareness of western drama in Chinese opera was gradually formed in the 20th century. The most obvious sign is the warm commentary and discussion that revolved around Mei Lanfang's visit to the United States and the Soviet Union in the 1930s. These two overseas performances by Mei Lanfang are an unprecedentedly powerful shock wave to the Western theater industry by the Chinese opera, laying an unshakable foundation for the Western theater industry to recognize the unique position of Chinese opera in the world theater. Mei Lanfang made long preparations before going to the United States. In art, he got the guidance of Qi Runshan and Zhang Pengchun, “outsiders” mentors. Qirunshan's role in the trip to the United States has been described in more detail by “Melanie Wynn's Travels in America,” written by himself. Zhang Pengchun's role, Qiru Shan in the “Declaration” written in “Sui Yuxuan You Misaki Lu” briefly mentioned, far from clear, almost by the Ma Ming “on Zhang Pengchun and Mei Lanfang's cooperation and its impact” a Made an important test and make corrections. It was with the help of these two mentors that Mei Lanfang's performance at that time was representative of the latest updated Peking Opera style and they studied the acceptability of the American audience and made the program prudent Collection of the election