【摘 要】
：
五四启蒙者不谙戏曲美学原则,坚持戏剧功能主义,以西方现实主义话剧否定中国写意的民族戏曲,这一做法引起戏曲专家的驳斥,尤其是“国剧”派人士对于戏曲艺术价值的肯定,加之
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五四启蒙者不谙戏曲美学原则,坚持戏剧功能主义,以西方现实主义话剧否定中国写意的民族戏曲,这一做法引起戏曲专家的驳斥,尤其是“国剧”派人士对于戏曲艺术价值的肯定,加之戏曲艺人在坚守传统戏曲美学的基础上的现代调试,反而使得二三十年代戏曲艺术(京剧)达至少有的巅峰状态。
The fact that the May Fourth Enlightenment did not understand the traditional aesthetic principles of theatrical works and insisted on drama functionalism and negated the freehand Chinese nationality drama in Western realistic drama caused the refutation of the opera experts, especially the artistic value of “national drama” , And the modern commissioning of the traditional opera aesthetics based on traditional opera aesthetics by the opera artists has at least brought the pinnacle of opera art in the 1920s and 1930s.
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