20世纪80年代以来,随着戏曲的衰弱,乃至濒危,对戏曲衰微原因及生存策略的探讨遂成为戏曲学界关注的核心话题,但大都从整体上献策献力,较少谈及我国戏曲剧种的层次性差别及相应的发展策略。本文以京剧、晋剧、上党梆子、襄武秧歌四个不同层次剧种为例,通过对其流布地域、演出团体数量、享有传播媒介及与大众传媒结合等方面的比较分析,展现不同层次剧种在当前大众传媒背景下其生态现状的千差万别。因此,不同 Since the 1980s, with the decline of the drama and even the endangerment of the drama, the discussion of the reasons for the decline of the drama and its survival strategies has become the core topic of concern for the opera scholars. However, most of them devote their efforts to the drama as a whole, Hierarchical differences and the corresponding development strategy. Taking the four different levels of operas such as Peking Opera, Jin Opera, Shangdang Bangzi and Xiangwu Yangko as examples, this article presents a comparative analysis of their geographical distribution, the number of performing groups, the media and the mass media, Under the current background of mass media, the ecological status quo is vastly different. So different