法国批评家法朗士曾说,文艺批评是批评家的心灵“在艺术杰作中的冒险”。民国初年,中国的剧评家冯叔鸾也声称“评剧最难,无戏学知识者,不足以评剧;无文学知识者,不足以评剧;看戏不多,不足以评剧;戏情不熟,不足以评剧。”(《啸红轩剧谈》)戏剧评论之所以这么难,不仅在于它本身是对剧评家知识积累和审美经验的考验,而且在某种程 French critic Franco once said that literary criticism is the critique of the soul “in art masterpiece adventure.” In the early years of the Republic of China, the Chinese drama critic Feng Shu-tao also claimed that “Pingju is the most difficult drama critic with no knowledge of drama. It is not enough to criticize drama; there is no literary knowledge enough to criticize drama; Not enough to comment on the drama. ”(“ Xiao Hong Xuan talk about ”) Drama criticism is so difficult, not only because it is itself a playwright accumulation of knowledge and aesthetic experience test, but also in some way