“五四”时期,一些新文化运动倡导者曾以极端的方式,对以梅兰芳为代表的中国传统戏曲进行了猛烈的批判,甚至主张“旧剧应废”。但诡异的是,那个时期乃至整个20世纪,梅兰芳戏曲艺术不仅没有被废除掉,反而受到观众的热烈欢迎,即便到了国外,同样受到前所未有的追捧和赞誉。当然,这种极具反差的艺术现象有深层的历史文化原因,多年来也有很多论者对其进行过精辟的辨析,本文不再赘述;本文想要探究的是:从20世纪初梅兰芳受到国内外观众热捧的角度看,梅兰芳及其戏曲艺术并非如文化前驱 During the May 4th Movement, some advocators of the New Culture Movement, in an extreme way, severely criticized the traditional Chinese drama represented by Mei Lanfang and even claimed that “the old drama should be abolished.” However, weirdly, during that period and even the entire 20th century, Mei Lanfang’s opera art was not only abolished but also received a warm welcome from the audience. It was equally sought-after and acclaimed even when abroad. Of course, this extremely contrasting art phenomenon has deep historical and cultural reasons. For many years, many commentators have made brilliant analysis of it, and will not go into details here. What we want to explore is that from the early 20th century, Mei Lanfang received At home and abroad audience touted angle, Mei Lanfang and its opera art is not as cultural precursor