大凡戏曲的传世之作,都会兼有这样那样多方面的特点,使不同的观众,从不同的艺术角度去获得各“以其情而自得”的社会效果。但广大观众(有文化的和那些不识字的)对戏曲评定的标准,既简单又明确,就是要求剧本具有“传奇”、“传情”的特色。这样的剧本,经过演员扮演于舞台,自然就能起到移情通感的作用,并融会于观众的心灵。演员的表演功能,在这里发挥了创造性。从而可以这么说,是戏曲舞台把作家、演员和观众三者的关系,结成了默契的统一。清代小铁遂道人是用一个“趣”字,辩证地论述了作家、演员和观众的依存关系。他说:“知凡剧具有佳趣”,这是专指剧本文学的“传奇”而言的。演员领会了剧本,“惟自得佳趣”,又能表演得“神乎其趣”, The general succession of the opera has both such features in many aspects, so that different audiences can obtain the social effects of “enjoying their own things” from different artistic angles. However, the criteria for the evaluation of the opera by a large audience (culturally and illiterate) are both simple and clear. They require the script to have the characteristics of “legend” and “teaser”. Such a script, after the actors act on the stage, can naturally play the role of empathy sense, and integrate in the audience’s heart. The performers’ performance features have been creative here. Therefore, it can be said that the stage of the opera forms the unity of understanding with the relationship among the writers, actors and spectators. The Qing Dynasty iron concession was a “fun” word, dialectical discussion of the writer, actor and audience dependencies. He said: “Know where the play has a good taste,” which refers specifically to the “legend” of the script literature. The actor grasped the script, “but enjoy themselves”, but also performed “delightful”