明末清初戏剧大师李笠翁,不仅是“商业”剧作家、编导和经理人,更重要的是一位戏曲理论家。“商业”剧作家,是因为李笠翁的绝大部分剧作,主要是迎合了当时观众的审美趣味。他的《风筝误》、《奈何天》、《蜃中楼》等喜剧作品都十分易懂耐看,其中也不乏一些低俗下流的语言,以博他人一笑。由此使我联想起,李笠翁的戏剧理论是否也是建立在“商业”的审美基准之上呢? Li Ming Weng, the master of drama in the late Ming and early Qing dynasties, is not only a “commercial” playwright, director and manager, but more importantly, a theatrical theorist. “Commercial ” playwright, because Li Yong Weng’s most dramas, mainly to meet the audience’s aesthetic taste. His comedy works such as “Kite False”, “Nothing Days” and “Mirage House” are very easy to read and understand. There are also some vulgar languages ​​that make them laugh at Bo. This reminds me, Li Liweng drama theory is also built on the “commercial ” aesthetic benchmark above it?