近来,常看到有些文章考证传统戏曲中的人物,其中又多是为舞台上的反面人物鸣不平,如说《白蛇传》中的法海原本是个好和尚,《铡美案》中的陈世美其实是个清官,《花打朝》中的苏定方不是裙带官而是功臣,《潘杨讼》中的潘仁美不是奸臣而是名帅,等等。这些考证是否都合理且不论。用这种方式向人们介绍一些历史知识,也未尝不可。但以此苛求、指责传统戏,甚至把戏中人物与历史不符的现象同当前文艺创作中的虚假现象相提并论,就不妥当了。我们通常听说的传统戏,是有其特定的含义的。它基本上是在历史传说、民间故事、演义小说的基础上形成的。在长期流传的过程中,历代群众和艺人根据自己对历史的认识和对生活的理解,塑造了许许多多有血有肉的舞台形象,表达了自己的愿望和理想。因此,它虚构的成份很大,早已不是历史人物和事件的照搬。许多传统剧目,人物、事件都无据可查,连朝代都没有,如大量的“三小”(小生、小旦、小丑)剧。有的剧目虽然标明了朝 Recently, we often see some articles on the characters in traditional operas, most of which are unfair on the opposite side of the stage. For example, Fa Hai in The White Snake is originally a good monk, and Chen Shi-mei In fact, it is a clean government. “Su Ding-fang” in the “Flower-dynasty” is not a clerical but a hero. “Pan Yan-mei in Pan Yang is not a traitor but a famous person. Whether these research are reasonable and no matter. In this way to introduce people to some historical knowledge, it is not a bad idea. However, it is not appropriate to accuse the traditional opera of this demanding or even the phenomenon that the characters in the play do not conform to the history with the false phenomena in the current literary and artistic creations. The traditional drama we usually hear has its own specific meaning. It is basically formed on the basis of historical legends, folk tales and romance novels. In the course of long-term circulation, the masses and artists of all generations have shaped many flesh-and-blood arena images and expressed their wishes and ideals based on their own understanding of history and understanding of life. Therefore, its fictional composition is very large, it is no longer the historical figures and events copied. Many of the traditional repertoire, characters and events are beyond the reach of any other dynasty, such as a large number of ”three small" (niche, small, clown) dramas. Although some repertoire marked the DPRK