戏曲,从来是群众欣赏的艺术,戏曲的语言,应该是群众能够看得懂听得明白的雅俗共赏的语言。这就是历代评戏者崇尚的“本色”语言,用文学家冯梦龙的话说“本色者,常谈口语而不涉于粗俗。”综观戏曲史,流传下来的优秀戏曲,其语言都有雅俗共赏特点。关汉卿的《窦娥冤》到现在拿来阅读,还朗朗上口,舞台演出,观众还看得明白。流传下来的京剧和各种地方戏曲中的好戏,也具有这样的特质。相反,有些文人写的雅戏,过分高雅,现代观众既听不懂对白,也弄 Traditional opera has always been the art of the masses appreciation, the language of opera, and should be the language that the masses can understand the elegant and popular tastes that can be heard clearly. This is the “true color” language advocated by the critics in all ages, and the term “native” is often used in the words of the writer Feng Menglong to describe oral history rather than vulgarity. Guan Hanqing’s “Dou E injustice” to bring it now read, but also catchy, stage performances, the audience also see clearly. Peking opera and the good operas in various local operas handed down also have this trait. On the contrary, some writers write elegant, elegant, modern audiences do not understand the dialogue, but also get