因姻亲、学缘等关系,清中叶扬州曲家焦循、凌廷堪、李斗、黄文旸等戏曲观念趋同,表现出鲜明的“崇元”倾向。针对当时曲家以史传之笔写戏、湮没戏曲本体的创作现象,他们以元人本色理论相号召,主张传奇创作要重视戏曲的搬演特性,恢复元曲的审美特征;以为元曲是中国古典戏曲的典范,后人无法超越,并以之为圭臬来评判传奇史上的大家,因此矫枉过正,直接影响其戏曲成就的取得。 Due to the relationship between marriage and learning, the conceptions of traditional opera such as Yang Song Qu Jiaxun, Ling Tingkan, Li Dou and Huang Wenzong converge in the mid-Qing Dynasty and show a clear “Chong Yuan” tendency. In view of the fact that Qu Qu wrote stories by historical biography and annihilated the creation of opera noumenon, they called for the legendary character theory to emphasize the moving characteristics of traditional Chinese opera and restore the aesthetic characteristics of the traditional Chinese no novels. Classical opera model, future generations can not go beyond, and use it as a prerequisite to judge the legendary history of everyone, so overkill, a direct impact on the achievement of their opera achievements.