京剧理论界在“梅周”并称的背景下,忽视、回避、掩盖了两者在文化性质上的明显差异。梅兰芳是古典美的化身,而周信芳是现代美的创造者。从周信芳演出的剧目上可以看出对民族独立、个性解放的追求,对腐朽政治、丑恶人性的批判;从周信芳的演剧思想与实践上可以看到他对片面形式主义京剧观的破除、对京剧艺术的独立性和完整性的追求。这都体现了强烈的现代性。周信芳演剧的现代文化性质使他创立的麒派艺术超越了一般的京剧流派的概念,而具有艺术体系的意义。 Under the background of “Mei Zhou ”, Peking Opera theory circles neglect and evade and cover up the obvious cultural differences between the two. Mei Lanfang is the incarnation of classical beauty, while Zhou Xinfang is the creator of modern beauty. From Zhou Hsin-fang’s repertoire, he can see the pursuit of national independence and individual liberation, his critique of decadent politics and ugly human nature. From Zhou Xinfang’s dramatic thinking and practice, he can see his dismantling of one-sided formalism of Beijing opera , The pursuit of the independence and integrity of the art of Beijing Opera. This shows a strong modernity. The modern cultural nature of Zhou Xinfang’s drama led him to establish the concept of art system that goes beyond the general concept of Peking Opera genre.