面临戏曲不大景气的现状,近年来,人们通过各种途径,采用各种办法,试图振兴戏曲。戏曲能否振兴,决定于多方面的因素,诸如戏曲政策、体制改革、剧目建设、人材培养,以及观众态度等等。但我认为,首要者,是人们观念上的更新。很多史实证明,任何变革总是以观念更新为前提的。这种情况,在思想史、科技史、文化史上是屡见不鲜的。就是当今现实同样也不乏其例。党的十一届三中全会以后,农村、城市的变革也都是以观念更新为先导的。这一切,都说明了一点,没有新的观念,就不可能有新的变革,也就不可能有新的发展,戏曲自然也不例外。那么,戏曲要振兴,应该更新哪些观念呢?我想至少有以下三点: Faced with the current situation of the drama is not booming, in recent years, people through various channels, using various methods, trying to revitalize the opera. The revival of drama depends on many factors, such as the traditional opera policy, institutional reform, repertoire building, human resource development, and audience attitude. But I think the foremost is the conceptual update of people. A lot of historical evidence proves that any change is always premised on the concept update. This kind of situation is not uncommon in the history of ideas, history of science and technology, and history of culture. It is also true today’s reality is no lack of examples. After the Third Plenary Session of the Eleventh Central Committee of the Party, the changes in rural areas and cities are all also guided by the renewal of concepts. All this shows that without new ideas, there can be no new changes and no new developments. Drama is no exception. So, to revive the drama, which ideas should be updated? I think at least the following three points: