毫无疑问,当今突飞猛进的信息时代与中国大地上正在方兴未艾的改革、开放的大潮,必然会给古老的中国戏曲艺术带来新的生机。一系列新的课题摆在了中国戏曲艺术以及戏曲理论与批评事业的面前。目前,一个最热门的课题,就是历史悠久的古典戏曲如何与人们的现代意识相谐调,以产生良好的审美效应。之所以提出这样的问题,是因为在众多的现代艺术门类相互竞争激烈的今天,如同世界性的戏剧不景气的现象一样,中国戏曲在现代观众中,遭到了某些冷落的缘故。这样博大精深的、内容又浩如烟海的艺术居然遭到冷遇,这种反常的现象,说明了问题的复杂性。因此,对于这个问题,不应当作简单化、庸俗化的理解。然而,在我国戏曲界中,的确又存在一些浅薄的认识与做法。某些水平不高的戏曲从业者认为,要解决这个问题,只要在古典戏曲中,掺杂进一些当代青年喜欢的流行歌曲的旋律或者迪斯科节奏就可以办到了。显然这是一种十分片面的误解,这些人还没有弄清楚,中国戏曲可以征服现代人的地方,不应该仅仅在这里,而首先应该在它自身的属于传统所固有的、为别的艺术品种所不能替代的、具有永久魅力的那些部位。因此,戏曲理论与批评界的当务之急,是启发这些为数不少的平庸的艺术家正确认识与理解戏曲艺术和本身的独特的艺术规律,发掘与总结自己所固有的艺术表现手段,方能强化自己的竞争能力。用俗话来说,就是正确地、充满信心地检阅自己的实力,把“绝活”拿出来,勇敢地投入到激烈的艺术竞争中去,求得自身的生存与发展。 There is no doubt that the tide of reform and opening that is booming in today’s rapidly evolving information age and the vast land of China is bound to bring new vitality to the ancient Chinese opera art. A series of new topics have been placed in the field of Chinese opera art and opera theory and criticism. At present, one of the hottest topics is how the ancient classical opera has a long history of harmony with people’s modern consciousness to produce a good aesthetic effect. The reason why such a question is raised is that today, as numerous modern art categories are fiercely competitive with each other, like the downturn of world drama, Chinese opera has suffered some neglect in the modern audience. This kind of profound and profound content of art is so cold that this unusual phenomenon shows the complexity of the issue. Therefore, this issue should not be simplified and vulgar. However, there are indeed some superficial understandings and practices in the Chinese opera circles. Some low-level opera practitioners think that to solve this problem, as long as the melody or disco rhythm of classical operas mixed with the popular songs of contemporary youth can be done. Obviously this is a very one-sided misunderstanding. These people have not yet figured out where Chinese opera can conquer the modern world. It should not be here, but should first of all be covered by its own inherent tradition, Irreplaceable, those parts of the permanent charm. Therefore, it is imperative for opera theory and critical circles to inspire these few mediocre artists to correctly understand and understand the unique art laws of opera art and their own, to find out and summarize their inherent means of artistic expression, and to strengthen themselves Competitiveness. To use colloquialisms, it is the right and full of confidence to review their own strengths, the “unique skills” out, bravely into the fierce art competition, and seek their own survival and development.