王国维言:“戏曲者,谓以歌舞演故事也。”这种界定意味深刻,即戏曲的歌舞动作不能游离于人物性格之外,是人物性格动作的歌舞化,一切都在人物的行动之中,都在性格之中,都在戏的发展之中。戏曲演员必须是用歌、舞、言等多种艺术成分统一和谐地来表演人物的性格化动作。这与西方的歌剧、舞剧、话剧等演员用歌、用舞、用言的单一艺术成分相比,要丰富得多,复杂得多,也更难驾驭得多。这就给戏曲教学带来很多困难。在培养戏曲演员的过程中,教师向学生介绍戏曲的写意特征、戏曲表演中的虚拟性和程式化以及戏曲脸谱等戏曲的一般常识时,需要详细的、相对固定的教学方 Wang Guowei words: “Opera, that the story of the song and dance also.” This definition is profound, that is, opera song and dance moves can not be separated from the character of the character is the character of the song and dance movements, all in the characters Among actions, all in character, are in the development of the play. The opera performer must be a characterized act of performing characters in a unified and harmonious manner with a variety of art components such as song, dance, and speech. This is much richer, more complicated and harder to control than the single art component of Western opera, dance drama, drama and other actors who use song, dance, and rhetoric. This brings many difficulties to drama teaching. In the process of cultivating drama actors, teachers should introduce students to the freehand features of drama, the virtuality and stylization in drama performances, and the general knowledge of traditional operas such as opera masks, which require detailed and relatively fixed teaching methods