一在我国近代戏曲导演学方面,值得我们首先重视的,无疑是欧阳予倩同志在本世纪前半叶给我们留下来的经验与理论。欧阳予倩在戏曲导演学方面的探索历程,是与他在我国初期话剧和早期电影方面的实践同步而交错的。他是戏曲。话剧、电影“三栖”,而又兼编剧、导演、演员于一身,加上他的文学功底厚实,艺术修养深湛,为他在我国近代戏曲导演学上创建丰功硕果,提供了充分的条件。 In the field of director of modern Chinese opera, it is undoubtedly the experience and theory that Comrade Ouyang Yuqian left behind for us in the first half of this century. Ouyang Yuqian’s exploration of opera directorship is staggered by his practice of early Chinese drama and early films. He is a drama. Drama and movie “The Three Habits”, but also writers, directors, actors in a body, coupled with his solid foundation of literature, artistic accomplishments, for him in the modern drama director of China to create fruitful results, provided sufficient conditions.