目前在戏曲界有两种观点,他们是对立的:一种是要原汁原味保持戏曲传统的艺术特征,最好不宜做丝毫改动,仿佛这样才是对戏曲艺术最好的继承;另一种则是鼓励大胆地吸收当代的艺术元素,让传统的戏曲融入当代的意识,无论是内容还是形式,都要进行力度较大的、创新改造,也就是说要尽颠覆之能事。客观地说,这两种意见都有局限性。保守派不了解戏曲自诞生之日起,就在与时俱进:从南戏到元杂剧,再从元杂剧到宋杂剧,就连现在我们看到的京剧也和“同光十三绝”时期的京剧、四大名旦时期的京剧有极大不同。激进派多是接受过高等教育之人,深受西方文化的影响,对话剧的喜爱程度远远超过戏曲。他们在戏曲振兴工作上所做的努力,有的出于自身专业的需要,有 At present, there are two kinds of viewpoints in the field of opera. They are antitheses: one is to maintain the traditional artistic features of the opera tradition, and it is better not to make the slightest modification at all. It seems that this is the best inheritance for opera art. It is encouraged to boldly absorb the contemporary art elements, so that the traditional drama into the contemporary consciousness, both in content and form, should be carried out with greater intensity, innovation and transformation, that is to say to do subversive. Objectively speaking, both views have limitations. The conservatives do not understand that opera has been advancing with the times since it was born: From Nanxu to Yuan Zaju, and then from Yuan Zaju to Song Zaju, even the Peking opera we now see has also become synonymous with “ ”Peking Opera during the period, the four famous opera during the Peking Opera has a very different. Radicals are mostly people who have received higher education. They are deeply influenced by Western culture and their love of dramas goes far beyond drama. Their efforts in the revitalization of the opera work, some out of their own professional needs, there