当戏曲经过了十年禁锢后的繁发热潮冷却之后,至今仍处于困惑与不景气的状态。因此,一些理论家们在积极探寻其原因所在时,除对戏曲的表演形式及艺术外部诸因素提出了质疑外,更多指责的是戏曲的表现内容远远违背当代社会的思想意识与道德标准。而戏曲内容中的“忠孝节义”则是这些理论家批评的中心。对于戏曲中的忠孝节义的不同观点,相互争议由来已久。其焦点是,有人认为忠孝节义的道德内容在当今社会中仍应存活于我们民族的意识中,仍应在当今道德范畴里占有地位。也就是我们通常称之谓的“道德继承论”。有人认为戏曲的忠孝节义属于封建 After the drama has cooled down after its ten-year imprisonment, it is still in a state of confusion and depression. Therefore, when some theorists actively explore their causes, they are more accusing of the performance content of the drama far from the ideology and moral standards of contemporary society, in addition to questioning the performances of the opera and various factors outside the arts. . The “loyalty, filial piety, righteousness and righteousness” in the content of the opera is the center of criticism of these theorists. Different views on the righteousness, hatred and righteousness in the drama have been in dispute for a long time. The focal point is that some people think that the moral content of righteousness, filial piety and righteousness should still survive in the consciousness of our nation in today’s society and should still occupy a position in today’s moral category. That is what we usually call “moral inheritance.” Some people think that the loyalty and filial piety drama belongs to the feudal