近年来,许多戏曲从业者都在为中国戏曲的传承与发展做着各种各样的探索和努力,包括海峡两岸的专家学者。在大陆,继“青春版”《牡丹亭》问世之后,冠以“青春版”“现代版”字样的剧目时有推出。但是,正像一些“青春版”戏剧中“青春”缺失一样,某些“现代版”戏曲也少有现代意蕴。其实,作品是否具有现代性,并不在于是否表现了现代生活,或者说,一些表 In recent years, many opera practitioners are doing various explorations and efforts for the inheritance and development of Chinese opera, including experts and scholars across the Taiwan Strait. In mainland China, following the advent of “Youth Version” and “The Peony Pavilion”, the titles titled “Youth Version” and “Modern Version” have been released from time to time. However, just as some “youths” in the “Youth Version” drama are missing, some “Modern Editions” also have less modern connotation. In fact, whether works are modern or not does not lie in whether they represent modern life, or that some forms