至少可以说,《节妇吟》是新时期第一个真正从情爱性爱心理上描写女性悲剧的戏曲作品,它接续了中断几十年的《西厢记》之类描写男女情事的古典戏曲传统,同时接续的还有古典文人戏曲的诗学传统。这使它在强烈的政治历史批判的时代语境中凸显出对人性人情的理解和同情,在宏大深刻的写作和欣赏的时代惯例中凸显出传统的清隽典雅的艺术风格。它的出现似乎可以看作一个事件,使人对当时戏曲过于理性和复杂的小说化、话剧化创作的时代主流感到不自在。而新时期戏曲界关于戏曲本体化和剧种化的思考由此开始,并不断得到推衍和深化。 At least it can be said that the festival woman Yin is the first drama in the new era that truly describes the female tragedy from the psychological point of view of love and sex. It inherits the classical opera tradition of depicting men and women, such as The Romance of the Western Chamber, which was interrupted for decades. There is also the poetic tradition of classical Chinese opera. This makes it highlight the understanding and sympathy for human nature in the context of a period of intense political and historical criticism. It highlights the elegant Qing style art style in the profound and profound practice of writing and appreciation. Its appearance seems to be regarded as an event, which makes people feel uncomfortable with the mainstream of the times when the drama was too rational and complicated to be fictionalized and dramatized. In the new period, the thinking of opera noumenon and dramatization of the opera started from this and continued to be promoted and deepened.