李焕斗在《云南戏剧》1987年第三期发表的《戏曲舞台美术的写意性》一文中说,中国戏曲舞台美术由于理论上的某些混乱和认识上的模糊,有许多因素在妨碍着写意性戏曲舞美的发展。例如:一、受幻觉主义的影响和束缚,产生一些说法:传统戏用写意手法,现代戏用写实手法;这个戏适合写意,那个戏适合写实;还有的说要和写实相结合。特别在现代戏的舞美设计中,往往容易走向模仿自然,制造逼真幻觉的路子。实际上还是忘记了戏曲表演的虚拟性和戏曲舞台的假定性。二、对于中国戏曲舞台美术的传统, Li Huan-Dou said in his article “Freehandness of Drama Stage Art” published in the third issue of Yunnan Drama in 1987 that due to some confusion and misunderstanding in theory, there are many factors that impede the freehandness of Chinese opera stage art. The development of drama and dance. For example: First, by the influence of illusionism and constraints, to produce some say: traditional opera freehand brushwork, modern drama realistic approach; the play for the freehand, the play for realistic; others say and realistic combination. Especially in the modern stage of theatrical design, it is often easy to imitate the natural way to create a realistic illusion. In fact, they still forget the hypothetical nature of the drama and the drama stage. Second, for the tradition of Chinese opera stage art,