《中国戏剧》,去岁第九期,刊有乔嘉瑞先生的《振兴京剧与乱标派别》;今年第三期,有蒙籍作家乌兰娜女士的《“蒙派京剧”的由来》登出。两位对京剧“派”的观点截然不同。虽与两位作者未曾谋面,但从文章中看,似乎乔先生比乌女士年长许多?作为传播戏曲知识的刊物,似乎应该对此两说一明究竟。因为这不仅是学术方面的不同观点,而是两说不能并存。为避免以讹传讹,愚下在此不评价两说,只是明确这个“派”字。 “Chinese Drama”, the ninth issue of the last year, published by Mr. Qiao Jiarui “revitalization of Beijing Opera and messy factions”; the third issue of this year, a Mongolian writer Wulan Na’s “” . The two viewpoints on Peking Opera are quite different. Although I have not met with the two authors, judging from the passage, it seems that Mrs. Joe is much older than Ms. Bauhoo. It seems that the publication of the dissemination of opera knowledge seems to be quite clear. Because this is not only a different academic point of view, but the two can not co-exist. In order to avoid erroneous assertions, foolishness does not evaluate the two here, but only clarifies the word “faction.”