25年前,海峡彼岸的学者曾发出这样的慨叹:“百余年前,皮簧从昆曲手中取得权杖,让一个最精美的艺术做了一场征战中的悲剧主角。不想时换势移,那不可一世的战胜者,今日也面对着一个相同的命运。艺术本身的成熟与精美,并不足以挽救它。”这是台湾学者孟瑶在《中国戏曲史》“皮簧前途展望”一节中的话,书写于1965年。没有想到时隔不久,台湾京剧的过去却成了大陆京剧的现实,大家都在为“京剧危机”而发愁,并为此出谋划策。这次盛大的徽班进京200周年纪念活动,恐怕主要为它而设。京剧出路何在?孟瑶写道:“中兴之象的造成,以能否吸引一般观众为关键。”我也常在考虑这一问题。我觉得要改变京剧的衰落面貌,必须从戏曲的生存土壤和环境结构着眼,也就是说,要从艺术社会学的角度去找出问题的症结。近年来,有的国内学者将中国戏曲分为民间戏曲、通俗戏曲、精英戏曲三类,我认为是可取的。需要略加说明的是,民间戏曲除了农民自演自娱者外,还应包括民间经营的、长年演出于农村的戏曲,以及工人、学生等业余演出的戏曲。我觉得,不 Twenty-five years ago, academics on the other side of the Straits made the following remark: “For more than a hundred years ago, the reeds made the scepter from the hands of the Kunqu opera and made one of the most exquisite art a tragic protagonist in the campaign. , That the mighty winner will face the same fate today, and the maturity and sophistication of the art itself will not be enough to save it. ”This is one of Taiwan’s scholars Meng Yao’s The words of the day, written in 1965. Did not think of the passage of time, the past of Peking Opera in Taiwan has become the reality of mainland Beijing opera, everyone is worried about the “crisis of Beijing Opera” and give advice and suggestions. The celebration of the 200th anniversary of the grand emblem class to Beijing is probably mainly for its purpose. Where is the exit from Beijing Opera? Meng Yao wrote: “The creation of ZTE is key to attracting the general audience.” I also often consider this issue. I think that to change the decline of Peking opera, we must look at the existing soil and environmental structure of the opera, that is to say, we should find the crux of the problem from the perspective of sociology of art. In recent years, some domestic scholars classify Chinese opera into three categories: folk opera, popular opera and elite drama, which I think is desirable. Need to be noted that the folk drama in addition to peasant self-entertainment, but also include non-governmental businesses, performances in rural areas for many years, as well as workers, students and other amateur performances of drama. I think, no