美在流动,真理在发展,浩瀚无涯的宇宙间,万物生生不息,变动不居。在时代的大潮震耳欲聋的拍击声中,运动的观点、发展的观点,已日益成为人们普遍接受的常识。任何理论阐述,可能都会变得多余。戏曲是处于永不停息的发展过程之中。从它的起源、形成、繁盛、衰微直到中兴,都有无数生动的事例,证实着这样一条历史规律。因此可以说,一般地泛论戏曲是不是发展的,在今天已经失去意义;问题的关键,显然在于它是怎样发展的,其中有什么带规律性的东西。研究方兴未艾的当代戏曲,这一点尤为重要。为了探寻当代戏曲的发展脉络,让我们先认识一下戏曲艺术自身的规律性。当前理论界比较倾向于这样一种提法:戏曲是多 The United States in the flow, the truth in the development, the vastness of the boundless universe, all things endless, changeable. In the deafening vocality of the tide of the age, the viewpoints of sport and development have increasingly become the accepted common sense. Any theoretical explanation may be superfluous. Opera is in the process of development. From its origin, formation, prosperity, decay until ZTE, there are countless vivid examples that confirm such a law of history. Therefore, it can be said that the generalization of traditional opera has not developed and has lost its meaning today; the crux of the matter lies obviously in how it developed and what is regular in it. It is particularly important to study the contemporary drama in its ascendant. In order to explore the development of contemporary drama, let us first recognize the regularity of the art of opera. Current theoretical circles tend to be more such a formulation: drama is more