从科班到院校,无论是个人的传授,还是院校的集体教学,口传心授作为一种约定俗成的教学方法,历来在戏曲表演教学中被承袭和沿用,成为传统的教学方法。随着时代的变革和发展,戏曲这一艺术形式在反映现代生活中面临着新的严峻的考验。为适应时代的变革和发展,人们对口传心授这一教学方法渐渐地持不同的认识和看法,褒贬不一。有一种看法认为口传心授的教学方法,实质上是从结果到结果一种经验性的注入法,这种方法的弊病是使学生在单纯的摹仿中形成一种依附性,一味地强调摹仿,而忽视了对学生技能的开发,使学生缺乏塑造艺术形象的创造能力,它是戏曲教育不能向前发展的根本原因。另一种看法却截然相反,认为戏曲艺术的自身规律和艺术特征,决定了口传心授这一方法的合理性和重要性。艺术的创 From the koban to the colleges and universities, both individual teaching and collective teaching in colleges and universities, oral tradition, as a common teaching method, has always been inherited and followed in the traditional Chinese opera performance teaching and becomes the traditional teaching method. With the change and development of the times, the art form of opera is facing a new and severe test in reflecting the modern life. In order to adapt to the change and development of the times, people gradually come to hold different opinions and opinions on this teaching method of oral communication and imparting compassion. There is a view that the teaching of oral heart teaching, in essence, from the results to the result of an empirical injection method, the drawback of this method is to enable students to form a simple imitation of attachment, blindly emphasize imitation, While ignoring the development of student skills, so that students lack the creative ability to create an artistic image, which is the fundamental reason why drama education can not move forward. On the other hand, the opposite view holds that the inherent law and artistic characteristics of opera art determine the rationality and importance of this method of oral tradition. Creative art