从20世纪初到“五四”前后以传统知识分子为主体的戏曲革新模式一直雷声大雨点小。从梁启超到新文化运动倡导者虽然占据了文化舆论的主流,但是并不能切实做出有益于当时蓬勃发展的中国戏曲艺术的行动,主要原因在于根深蒂固的传统士大夫文化和心态。以文人为主体的戏曲革新运动排斥了当时同样独领风骚的戏曲艺人的参与,与现实的戏曲生态环境相隔离,使得20世纪初的中国戏曲理论探索举步维艰。 From the beginning of the 20th century until the “May Fourth Movement”, the traditional model of opera revolution centered on traditional intellectuals has been thunder and rain. Although advocates from Liang Qichao to the New Culture Movement occupied the mainstream of cultural media, they did not actually make the move that benefited the flourishing Chinese opera art at that time, mainly because of the deep-rooted traditional literati culture and mentality. The drama reform movement with the literati as the main body excluded the participation of opera artists who were equally dominant at the time and was separated from the realistic ecological environment of operas, making the exploration of Chinese opera theory in the early 20th century difficult.