戏曲舞美传统有明显的随意性、假定性。一桌两椅的配置、摆放的方式与位置、以及它们与其他舞台道具相谐匹配的不同,能时而作床,时而作柜,时而作桥,时而作舟。改革开放以来,艺术创作者的思维和理念十分活跃,创新意识强,打破了舞台美术写实仿真的桎梏,舞台美术骤显异采纷呈。其间不乏与传统戏曲表情写意舞台置景风格相同或者类似的舞美佳作。当今的戏曲舞台上依然所见的具有信息化特征的舞美佳作实在太少,而依然属于仿真的舞美设计实在太多。基于如此感受,笔者呼唤戏曲舞台美术信息化的回归。 Opera traditional dance has obvious randomness, hypothetical. A table and two chairs of the configuration, placement and location, as well as their match with other stage props match different from time to time as a bed, sometimes make cabinet, sometimes as a bridge, sometimes making a boat. Since the reform and opening up, art creators have very active thinking and philosophy, strong sense of innovation, breaking the mockery of stage art realistic simulation. During this period, there is no lack of performance with the traditional opera expression of the same stage or the same scene style or similar Wu Mei masterpiece. There are too few beautiful and beautiful works of the United States and the United States with the informative characteristics still seen on the stage of the drama today. Too many designs of the stage and the dance still belong to the simulation. Based on this experience, the author calls for the return of opera stage art information.