豫剧在20世纪初处于从“跑高台”向“城市茶社戏园”转折的时期,其唱腔的转变呈现了豫剧的自我救赎与修正。20世纪30至40年代,中心城市的经济吸引力把豫剧各流派演员汇集到开封,加上文人的参与和豫剧演员因抗战离开故土,豫剧各流派进一步融合。20世纪50至60年代,从传统戏到现代戏的创新与突破,为以《朝阳沟》为代表的豫剧现代戏的成功提供了理论与实践两个方面的准备,《朝阳沟》的成功也是中原文化开放、包容、进取精神的一次集中绽放。 At the beginning of the twentieth century, the operas began their transition from “running the platform ” to “City Tea Garden ”. The change of singing shows the self-salvation and revision of the opera. From the 30s to the 40s of the 20th century, the economic attractiveness of the central cities brought the actors of each opera genre together in Kaifeng. With the involvement of the literati and the opera actors leaving their homeland due to the war of resistance against Japan, the various genres of the opera became further integrated. From 1950s to 1960s, the innovation and breakthrough from the traditional drama to the modern drama provided the theoretical and practical preparation for the success of the modern opera represented by “Chaoyanggou”. The success of “Chaoyanggou” was also the culture of the Central Plains Open, inclusive and enterprising spirit of a concentrated bloom.