近年来,随着戏剧理论探讨的深化,当焦点集中在“现代意识与戏剧发展”的关系时,出现了两种针锋相对、各走一端的观点。它们在全国戏剧界很有代表性,对戏曲则表现得尤为明显,值得深思细论。第一种是“死亡论”,说得好听点就是“夕阳论”。不少论者,在全面地指出戏曲内容和形式两方面确实存在早已明显的“病象”。之后,便简单粗暴地从内容和形式两个方面对戏曲的生存价值和生存可能加以彻底否定。他们认为,“现代意识”决定了中国传统戏曲的死亡。但奇怪的是,他们既认定“新时代的戏剧家完全不必为失去用起来得心应手然而缺乏创造 In recent years, with the deepening of the discussion on the theory of drama, when focusing on the relationship between “modern awareness and the development of the drama,” two diametrically opposed and one-off opinions emerged. They are very representative of the national drama community, especially for opera, which is worth pondering carefully. The first is “theory of death”, to put it bluntly, “sunset theory.” Many commentators fully present the “obvious signs” that have long been apparent in both the content and form of the opera. After that, it is possible to completely and completely negate the existential value and survival of the opera in both content and form simply and rudely. They think that “modern consciousness” determines the death of traditional Chinese opera. But what is strange is that they both found that "the theater writers in the new era need not lose their ease of use but lack of creativity