梅兰芳曾三次(1919年、1924年、1956年)访问日本演出。1919年、1924年访日演出纯粹是极为正常的名角儿与名票儿、戏班与剧场(堂会)之间的商业演出活动,而1956年的访日演出则是更多带有民间政治使命的色彩。而从中日戏剧的互动、比较、交集的视角看,梅兰芳前两次的访日演出所凸显出来的日本演艺界和学界对中国戏曲的认识也有明显的前后差异,即由最初观众对京剧表演的陌生、惊讶,到渐渐开始欣赏,并在与日本戏剧加以比较的过程中,由误读到明晰地要求梅兰芳回归传统,由此,逐步显现出对梅兰芳表演美学解释的日本视野。 Mei Lanfang visited Japan for three times (1919, 1924, 1956). In 1919, the 1924 performance in Japan was purely a commercial performance between the extremely normal celebrities and famers, theatrical troupes and the theater (church), while the 1956 performance of Japan was more with civilian political missions Color. From the perspective of interaction, comparison and intersection of Chinese and Japanese dramas, there are obvious differences in the understanding of Chinese opera by the Japanese entertainment industry and academia highlighted by Mei Lanfang’s first two performances in Japan, that is, In the process of being compared with Japanese drama, misunderstanding clearly demanded that Mei Lanfang return to the tradition, thus, Japan gradually revealed the aesthetical interpretation of Mei Lanfang’s performance Vision.