在中国,学术研究与戏曲发展的关系既近又疏。封建时代,士夫文人对戏曲的不屑态度,决定了戏曲研究和批评的匮乏。及待戏曲发展到相当程度并被全社会广泛接受后,这种学术研究与批评才渐次进入学术层面。戏曲的学术研究经历了自我突破与超越的过程。古代戏曲研究可以李渔为代表,达到了古典时期的高峰。步入二十世纪,理论建设有全新的发展,迥异于传统的西方的学术理念、学术思想及方法流行恣肆。而1949年新中国成立后,戏曲发展与理论学术的关系更其密切,这其中有理论的自觉与提高,也有时代社会的形势决定。这一时期的理论学术与戏曲舞台实践都有较一致的意识形态的渗透,为其制约,得失尽有。新时期以来的理论学术进入一个更为科学、客观和纯粹的时期,也更注重从舞台实践和现状发展中提炼,逐渐在改变过去笼罩已久的理论与实践二层皮的关系。彼此在进入一个最佳的历史时期时,互相依偎的关系也步入最佳时期。理论学术从创作、舞台实践总结而来,舞台实践有理论学术的支撑和分析,彼此进入良性的本原的互动中,尽管这个过程也仅仅是伊始未久,但前景是可以想见的。这种互动是有效的,不是脱节的;是来自实践的,又还不停留在经验层面;是感性艺术的,又是理论审美的。因而我们可以认为,戏曲理论学术建构与戏曲实践发展将进入历史上最为有效和富有成果的时期。 In China, the relationship between academic research and the development of Chinese opera is both near and far. Feudal era, scholar scholar’s disdain for opera, decided the drama of the lack of research and criticism. And until the drama developed to a considerable extent and was widely accepted by the whole society, this academic research and criticism only gradually into the academic level. The academic study of opera has undergone the process of self-breakthrough and transcendence. Ancient drama research can be represented by Li Yu, reached the peak of the classical period. Into the twentieth century, the theory of building a new development, different from the traditional Western academic ideas, academic ideas and methods unbridled. After the founding of New China in 1949, the relationship between the development of opera and academic theory was more closely related. Among them, there was theoretical self-awareness and improvement as well as the situation of the times. During this period, the theory of academic and opera stage practice has a more consistent ideological infiltration, for its constraints, lost. Since the new era, theoretical scholarship has entered a more scientific, objective and pure period. It has also focused more on refining the stage practice and current situation and gradually changing the long-held theory-practice relationship between the two layers of the past. In the best of each other into an historical period, the cuddled relationship also entered the best period. Theory and theory from the creation, stage practice comes from the stage practice theory and academic support and analysis, into each other into the benign interaction of the original, although this process is only the beginning of the past, but the prospects can be imagined. This interaction is effective, not out of touch; from practice, but also do not stop at the experience level; is emotional art, but also the theory of aesthetic. Therefore, we can think that the academic construction of opera theory and the practice of opera development will enter the most effective and productive period in history.