一种艺术体系的形成,是它成熟的一种表现,也是它一次次突破局限的结果.然而又免不了被它自己的体系所局限,走进体系指引的相对狭窄的圈限中.于是产生一种荒谬的局面——艺术家们创造了自家的体系,反过来又影响自家的创造力.当然,像闻名于世的斯坦尼斯拉夫斯基表演体系、布莱希特表演体系和以梅兰芳为代表的中国戏曲表演体系,都是在长期演剧实践过程中从不同的角度展现演剧的不同形态,不断总结,不断完善,也在不断发展.然而,也必然形成某一体系的艺术家们的代代传承.有创造也是循着前辈足迹的创造,有发展也是在既成体系基础上的发展.中国戏曲体系又多与流派结合,更是一种传人的谨慎的发展.这种发展的利弊暂不论,值得注意的现象,是体系越成熟,行家(包括一部分观众)越称颂,越重视并满足于这种圈内的欣 The formation of an artistic system is a manifestation of its maturity and the result of its repeated breakthroughs in its limitations, but inevitably it is limited by its own system and enters the relatively narrow circle of the system’s guidelines. Absurd situation - artists created their own system, which in turn affect their own creativity.Of course, as the world-famous Stanislavsky performance system, Brecht performance system and Mei Lanfang The representative Chinese opera performance systems all show different forms of the show from different perspectives in the process of long-term theater practice. They are constantly being summarized, continuously improved, and constantly developing. However, artists in certain systems Inheritance from generation to generation. Creation also follow the predecessor’s footsteps of creation, development is also based on the development of an established system .Chinese opera system and more with genres, but also a descendants of cautious development. Worthy of note, the more noticeable phenomenon is that the more mature the system, the more praiseworthy the expert (including part of the audience), the more attention and contentment in such a circle