我是一个年轻的戏曲工作者,是一位京剧迷。对《戏剧报》开展的关于京剧流派艺术的讨论,很感兴趣,每篇必读,获益匪浅。我自己有些不同看法,愿公诸于世,就教于大家。我认为,在继承、发展京剧流派艺术的讨论中,应该分清几个概念。首先,是继承流派和创造流派的概念,这是由于历史所赋予的任务不同,因而侧重点亦不相同的两个概念。先来谈谈继承流派的问题。许多戏曲艺术的大师们,毕其一生精力,创造出许多不同格式、不同品种,旖旎多姿的艺术流派。这些艺术流派脍炙人口,人们争相传唱,有广泛的群众性,即使是作为某一特定历史时期、特定历史条件下的产物,亦有存在的价值,更何况这些艺术流派的本身就是艺术精品,它们不仅是戏曲艺术中的瑰宝,同时也是我们整个民族文化中不可多得的珍贵遗产。它们的存在价值,正如马克思在《政 I am a young opera worker and a Peking opera fan. I am very interested in the discussion about the art of Peking opera genre conducted by The Drama Newspaper. I have some different opinions, and I would like to make myself available to everyone. In my opinion, in the discussion of inheriting and developing the art of Peking Opera genres, we should distinguish between several concepts. First of all, it is the concept of succession to genres and creation of genres. This is due to the fact that the tasks entrusted by history differ from each other, and therefore the two concepts which are not the same point of focus. First talk about the succession genre. Many of the masters of Chinese opera art have spent their whole life devoting themselves to creating art schools of many different styles, different varieties and beautiful scenes. These art schools are popular, people are singing and singing and have a wide mass of people. Even as a product of a particular historic period and under specific historical conditions, there are existential values. Moreover, these art schools are themselves fine arts, It is not only a treasure in the art of opera, but also a rare and precious legacy in our entire national culture. Their existence value, just as Marxism "government