焦菊隐《论民族化(提纲)》《文艺研究》1984年第四期载苏民等写的《从两个提纲看焦菊隐的戏剧美学思想》,文中发表了焦菊隐生前写的《论民族化(提纲)》: (一) 欣赏者与创造者共同创造。(二) 通过形似达到神似,主要在神似。(三) 通过“形”使观众得到“神”的感受,关键不在形,但又必须通过形。(四) 以少胜多:戏剧艺术的全部手段都是为了刻画人物服务的。与刻画人物的思想、内心矛盾冲突无关者,该简就简。不拖,不追求所谓“真实”。舞台上的真实不等于生活真实。表演上更是如此。(五) 反之:与刻画人物有关者,要细,不放过任何一点细微的矛盾冲突。要有浓郁的感情,细微的过程。人物的思想感情的变化,在生活中是瞬间的事,而在舞台上可以渲染很长的时间。这恰是观众要欣赏 Jiao Ju-yin’s “On Nationalization (Outline)” “The Study of Literature and Art”, 1984, the fourth issue of Su Min and other written “From two syllables Jiao Jueyin drama aesthetics thought”, published in the text before the death of Jiao Ju Xian’s “On Nationalization ) ”: (A) admirer and creator to create. (B) to achieve similar through the shape of God, mainly similar to God. (C) Through the “shape” so that the audience get “God” feeling, the key is not shaped, but must pass through the shape. (D) To win less: all the means of theater art is to characterize character services. And characterization of the thinking, inner conflicts have nothing to do, the Jane to Jane. Do not drag, do not pursue the so-called “real.” The truth on the stage does not mean real life. More on the show. (E) Conversely: Those who describe characters should be careful not to miss any subtle contradictions or conflicts. Have rich feelings, subtle process. Changes in people’s thoughts and feelings, in life is an instant event, and can be rendered on stage for a long time. This is precisely the audience to enjoy