自1986年吉林省戏剧理论家赵文翰先生首倡“关东戏剧”的口号(见《“关东戏剧”刍议》一文,《戏剧文学》1986年9月号)以来,关于“关东戏剧”的学术研究与讨论可谓异常红火热闹,东北三省相继或分别或联合召开了多数研讨会,而且出版了学术论文集《关东戏剧论》(吉林省戏剧理论学会编,吉林文史出版社1998年出版)。笔者从事评剧导演艺术工作多年,愿结合自己的艺术实践,对关东评剧艺术进行一点粗浅的研究与某些肤浅的探讨。艺术贵在创新,我认为,关东评剧的最大特点,就是它的创新力。这种创新力, Since the first opera of “Kanto Drama” was first promoted by Zhao Wenhan, a theatrical theorist in Jilin Province in 1986 (see “A Discussion of the Drama in Kanto”, “Drama Literature”, September 1986), academic research on “Kanto Theater” Discussions can be described as unusually booming, the three northeastern provinces have successively or separately or jointly held the majority of seminars, and published a collection of academic papers “Kanto drama theory” (Jilin Province Theater Theory Society, Jilin Literature and History Press, 1998). The author engaged in Pingju director art for many years, is willing to combine his own artistic practice, the Kanto Pingju art a little superficial research and some superficial discussion. Art is your innovation, I think, the most important feature of Kanto drama is its innovation. This innovation,