当代文学研究还未将当代戏曲文学纳入自己的研究界域。如果从文体学的角度考察当代戏曲文学剧本,虽然还程度不同地延续着传统戏曲文学的诸多文体规范,还受到戏曲舞台表演的传统规范的影响,但是,在创作思想中,一直具备强烈的当代意识,其文体也具有曲词书写的新诗化、表演叙述的散文化、剧本形制的新规范等当代要素。它在新的舞台想象中,运用新的思维、新的话语进行着剧本写作。这种新文体有着巨大的涵盖性,同时又是特点明显的独立文体。由此,可以确认它的当代文学属性,肯定它的文学创造价值。 Contemporary literary studies have not yet incorporated contemporary drama literature into their own research field. If we examine the contemporary drama literary script from the perspective of stylistics, though it still varies in many ways the traditional stylistic norms of traditional opera literature, it is influenced by the traditional norms of opera stage performances. However, in the creative thinking, there is always a strong contemporary Consciousness also has contemporary elements such as the new poetic writing of the lyrics, the prose of the performance narration, the new norms of script formation. It is in the new stage of imagination, the use of new thinking, new words for the script writing. This new style of writing has great coverage, but at the same time it is an obvious independent style. From this, one can confirm its contemporary literary properties and affirm its literary creation value.