清代花部乱弹的兴起,以徽班进京、京剧形成达到了它的高峰。无论在表演、音乐唱腔以至服装、化妆等诸多方面,都有长足的发展,精益求精;演出剧目也很丰富,但相对地说,剧本创作仍是比较缺少开拓和创造的。文学性的不足,至今仍是常被提及的一个弱点。展望京剧的未来,适当调整剧本文学与舞台艺术、作家与演员在艺术创作中的关系,恐怕是一个值得注意的问题。从历史上来看,有过以作家——剧本文学为中心的戏曲,也有过以演员——舞台艺术为中心的戏曲。在舞台的演出中,后面这种可以称为艺人型的作品常常占有更为重要的地位。剧作家是戏曲史上姗姗来迟的角色。早期的剧本,如“永乐大典戏文三种”中收录的《张协状元》等南戏作品,它们的作者大都是社会地位文化程度都不很高的书会才人,讲求遵守“梨园院体”、“教坊格范”。戏曲文学从一出娘胎,就清楚地表明了它是剧场的艺术、演 The rise of the Huapu bullets in the Qing Dynasty reached its peak with the formation of the Huizhou class in Beijing and Peking opera. No matter in performance, music singing and even clothing, make-up and many other aspects, have made great progress, excellence; performance repertoire is also very rich, but relatively speaking, the script is still relatively lack of creativity and creation. Literary deficiencies are still a common weakness to date. Looking forward to the future of Peking Opera, Inevitably, it is a matter worth noting that we should appropriately adjust the relationship between script literature and stage art, and writers and actors in artistic creation. Historically, there have been dramas centered on writers and scriptwriters, as well as drama centered on actors and stage art. In the stage performances, the back of this type of work can be called entertainer often occupy a more important position. Playwright is a late character in the history of opera. Early scripts, such as “Zhang Xie Zhuanyuan” included in the “Three kinds of Yongle Dagudi” included most of the South Opera works, whose authors were mostly calligraphers whose social status was not highly educated. They insisted on abiding by the “Liyuan Courtyard” , “Square Church grid.” Drama drama from a womb, it clearly shows that it is the theater art, performance