戏曲创新本来是一个无须讨论的话题,一个艺术品种,没有创新,焉有出路;再说严重一点,戏曲如果不把创新尊为第一要务,其除了作为非物质文化遗产有存在的意义外,是否能被定义为当代表演艺术,都是让人值得怀疑的事。一、创新是戏曲发展的必由之路谈创新,还是应该从源头开始,中国戏曲真正有成熟的样式应该是从北宋开始,但在中国文化悠久的历史长河中,我们发现起码是从殷商文明到北宋这一漫长的历史时期,我们并没有严格意义上的戏剧 Traditional drama innovation is a subject that need not be discussed at all. An art breed does not have any innovation. There is a serious problem. If drama does not regard innovation as the most important task, what is the purpose of drama? In addition to being meaningful as an intangible cultural heritage, Being able to be defined as contemporary performing arts is something that is questionable. First, innovation is the only way for the development of opera Talk about innovation, or should be from the beginning, the real maturity of Chinese opera should start from the Northern Song Dynasty, but in the long history of Chinese culture, we find at least from the Shang civilizations to the Northern Song Dynasty In this long historical period, we do not have drama in the strict sense