进入新世纪以来,东北三省评剧艺术舞台异常活跃,在接连两届的中国评剧艺术节上,辽、吉、黑均有优秀的现代剧目推出,观众与专家对《疙瘩屯》、《三姓人家》、《半江清澈半江红》皆反响强烈。更令人深思的是,这些剧目不仅选择了新时代的女性作为戏的主人公,而且以演绎她们人生的坎坷和抗争命运的摆布、张扬独立的个性精神构成了戏剧的主体。从而,于历史学、社会学和美学的杂糅交汇之中,寻找回来了真正属于新女性自己的世界。一、传统的惯性与新女性地位确立的重重阻隔大型现代评剧《三姓人家》、《半江清澈半江红》和《疙瘩屯》,分别在两届评剧艺 Since the beginning of the new century, the theater art in Northeast China has been unusually active. In the successive two years of China Pingju Theater Festival, outstanding modern plays have been launched in Liao, Kyrgyzstan and Kyrgyzstan. Audiences and experts have introduced “ ”,“ Half River clear half River ”are all strongly echoed. Even more thought-provoking is that these plays not only chose the new era of women as the protagonist of the play, but also to interpret their ups and downs of life and the fate of struggle at the mercy of independent personality to form the main drama. Thus, in the history, sociology and aesthetics of the hybrid intersection, looking back really belongs to the new female world. First, the traditional inertia and the establishment of a new status of female heavily obstructed the large-scale modern drama “three surnames”, “Half River clear half river” and “pimples Tuen”, respectively, in the two critics