戏有戏味。京剧有京味,川剧有川味……“味”者,大概就是戏剧观众在观剧审美过程中所把握到的一个剧种特有的艺术韵味,这种味来自这个剧种特有的表演形式和艺术风格。“味”的形成是一个剧种发展、完善和日益成熟的标志。只要形成了这个“味”,就说明它已经独树一帜,别具一格了。这个“味”一经形成,就变成了一种相对的统治力量,积极地培养和造就着自己的演员,强烈地影响和吸引着自己的观众。但是,从艺术发展的辩证规律来看,一个剧种一旦有了自己的“味”,也就是随着成熟期的到来,发展的速度也会逐步减慢,乃至出现停顿的态势。这时就会产生一种有趣的“异 Drama drama. Peking Opera has a Beijing flavor, Sichuan Opera Sichuan flavor ... ... “taste”, is probably the theater audience in the aesthetic process of opera to grasp a unique style of the opera, this taste comes from the drama unique performance forms and art style. The formation of “taste” is a symbol of the development, improvement and maturity of operas. As long as the formation of this “taste”, it shows that it has been unique, unique. Once formed, this “taste” becomes a relative dominating force, actively cultivating and bringing up its own actors, strongly influencing and attracting its own audience. However, judging from the dialectical law of art development, once a drama has its own “taste”, that is, with the advent of maturity, the pace of development will gradually slow down and even a pause occurs. This time there will be an interesting "different