在对中国戏曲的研究中,对观众审美心理模式的关注远远滞后于对古典戏曲文本从文学和社会学角度所作的各种阐述。而作为具有文学与舞台双重性格的中国传统戏曲,与世界历史上曾经出现过的任何一种戏剧形式一样,不能脱离其审美主体而孤立存在。尤其在中国戏曲面临着“观众危机”的今天,对观众接受心理的分析因为 In the study of Chinese opera, the attention paid to the audience’s aesthetic psychology lags far behind that of classical opera texts from the perspectives of literature and sociology. As a traditional Chinese drama with the dual character of literature and the stage, it can not exist in isolation from its aesthetic subject as any other dramatic form ever appeared in the history of the world. Especially in the Chinese drama is facing “audience crisis ” today, the audience psychology analysis because