传统戏曲作品的内容与形式,神与形,作为特定时代的产物,具有一定的历史限定性和制约性。但考虑到传统戏曲作品在世代相承的演出实践中无不经过了程度不同的改造加工,神与形的变化也是显著的。由此立论,我们对传统戏曲的神变和形变规律必须引起相当的重视,采取实事求是的策应措施。中华人民共和国成立以后,在不短的一段时间内,把戏曲艺术的推陈出新工作的重心放在传统戏曲剧目方面。根据中央人民政府政务院1951年发出的著名的“五·五”指示,鼓励和推广了宣传反抗侵略、反对压迫、爱祖国、爱自由、爱劳动、表扬人民正义及其善良性格的作品,反对鼓吹封建奴隶道德、鼓吹野蛮 The content and form of traditional opera works, God and form, as a product of a specific era, have certain historical limits and constraints. However, taking into account the performance of traditional opera works from generation to generation without going through different degrees of transformation and processing, the changes of God and the shape is also significant. From this point of view, we must attach considerable importance to the law of god transformation and deformation of traditional Chinese operas, and adopt realistic measures. After the founding of the People’s Republic of China, in a relatively short period of time, the emphasis of traditional drama repertoire has been placed on the centerpiece of drama art innovation. In accordance with the famous “May 5” directive issued by the Central Government Government Office in 1951, encouragement and promotion of works promoting propaganda against aggression, oppression, love of the motherland, love of freedom, love of labor, recognition of people’s justice and goodness and disobedience to advocacy Feudal slave morality, advocating barbarism