一部传世的古典剧作,可能会反映出阶级冲突的某个方面,但它之所以能成为传世的古典剧作,是因为它蕴含着万古不灭的人道主义精神。因此,在一个忌讳人道主义的历史时期,要想让古典剧作的舞台演出在本质上忠实于原著是很难很难的。浙江小百花越剧团的《西厢记》,被不少评论家称为“最好的”的改编演出。除了它的高水平的舞台综合艺术体现外,我想最应该加以强调指出的,是这个演出终于退回到了王实甫《西厢记》的人道主义基点上。这反映在改编者曾昭弘对《西厢记》戏核的再认识上。他在《(西厢记)改编杂谈》中写道: A handed down classical drama may reflect some aspect of the class conflict, but it has become a classical drama handed down because it contains the eternal humanitarian spirit. Therefore, in a taboo humanitarian history period, it is difficult to make the stage performances of the classical dramas faithful to the original works. Zhejiang Xiaobaihua Yue Opera Troupe’s “The West Chamber”, by many critics called “the best” adaptation performance. Apart from its high level of comprehensive stage art, I think it should be emphasized that this performance has finally been returned to the humanitarian baseline of Wang Shih-fu’s The West Chamber. This is reflected in the reorganization of Zeng Zhaohong on the “West Chamber” re-understanding of the theater. In his “(The West Chamber) adapted Zatan” wrote: