这个论题,是作为中国戏曲艺术的一个基本特点提出来的。它和戏曲艺术其它的基本特点——载歌载舞、高度复杂的综合性、程式化、虚拟性、以及可以和观众直接打交道等一样,是带有规律性的,这些基本特点既相互联系,又相互制约,是戏曲必不可少的,也是区别于其它舞台艺术的,当然,这些基本特点并不是戏曲所独有,但是在戏曲艺术中表现得更为集中、更为突出、更为鲜明,因而使得戏曲艺术能够区别于其它舞台艺术。以演员表演为中心所有的舞台演出,演员在舞台上总是居于“中心”。但是在中国戏曲舞台上表现得特别突出。同一出戏,甚至是同一个师父教的,有的演员演来使人赏心悦目,回味无穷;有的却演得索然无味,形同嚼腊。这是常看戏曲的人深有体会的。一般来说,西方传统话剧的演出成败,主要决定于剧本的好坏,尽管导演、演员都能起很大作用,但 This thesis is put forward as a basic feature of Chinese opera art. It is with the basic characteristics of other traditional opera art - singing and dancing, highly complex, stylized, virtual, and can deal directly with the audience, as with regularity, these basic features are interrelated and mutually restrained , Is essential for opera and also different from other stage arts. Of course, these basic features are not unique to opera, but are more concentrated, prominent and distinct in the art of opera, thus making opera Art can be distinguished from other stage arts. All the stage performances centering on performers, the performers always live in the center of the stage. However, it is particularly prominent on the stage of Chinese opera. The same play, or even teach the same master, and some actors play to make people feel good, memorable, while others play dull, chewy wax. This is often seen in opera people deeply understand. In general, the performance of the Western traditional drama success depends mainly on the script is good or bad, although directors and actors can play a significant role, but