中国戏曲表演的场所,无论是旧时的草台广场,还是现时的剧场舞台,都不过是有限空间,然而这方寸之地却是一个流动的艺术窗口,一个谱列众多人物形象的艺术画廊,在历史长河中不断涌现的戏曲艺术形象为历代观众所感知、理解和喜爱,成为人民观照社会人生的参照,亦成为人民思想情感的艺术显现。所谓“活曹操”,“活周瑜”,“活武松”者,既是人们对历史人物的认知,亦是人们对艺术人物的肯定。从审美角度说,这种肯定不仅仅是观众对演员表演的审美的评价,而且体现了演员艺术创造中的美学追求。“得意忘象”的命题是魏王弼在其《周易略 The location of Chinese opera performances, whether it is the old Grass Plaza or the current theater stage, is only a limited space. However, this square is a mobile art window, an art gallery with numerous characters, The continuously emerging artistic image of opera in the long history has been perceived, understood and loved by ancient audiences and has become the reference for people to observe the life of society. It has also become the artistic manifestation of the people’s thoughts and emotions. The so-called “live Cao Cao”, “living Zhou Yu”, “living Wu Song”, both people’s cognition of historical figures, but also people’s affirmation of the artistic figures. From the aesthetic point of view, this affirmation is not only the audience’s aesthetic evaluation of performers, but also embodies the aesthetic pursuit in the creation of performers. “Happy forgetting,” the proposition is Wei Wang Bi in its "Book of Changes