自20世纪80年代以来,对于戏曲命运及未来走向,有过几次大型思索与讨论。80年代的那次大讨论,学术界将戏曲危机的原因定位于与时代脱节,即戏曲在反映当下生活方面的缺陷,认为只有坚持改革创新才有出路,这种思想,承续了20世纪初以来文化精英们关于戏曲的态度。在舞台上,则表现为持续不断的现代戏实践。2003年、2004年《中国戏剧》又发起了“当代戏剧之命运”和“重建中国戏剧”的讨论,魏明伦、童道明、马也、傅谨、朝问、邓小秋等剧 Since the 1980s, there have been several major considerations and discussions on the destiny and future direction of Chinese opera. In that discussion of the 1980s, academics positioned the causes of the drama crisis out of touch with the times, that is, the opera’s shortcomings in reflecting the current life. They considered that there was a way out of sticking to reform and innovation. This idea continued from the beginning of the 20th century Cultural elite since the attitude of the opera. On the stage, the performance of a continuous practice of modern drama. In 2003 and 2004, “Chinese Drama” launched the discussion of “the fate of contemporary drama” and “rebuilding Chinese drama.” Weiming Lun, Tong Daoming, Ma Ye, Fu Jin, Zhao Qiu and Deng Xiaoqiu