新时期以来,戏曲创作多追求创新而疏于继承,刘厚生先生曾呼吁重视整理改编传统剧目,提倡从旧中求新就是针对这种失衡的现象而言。近年虽仍以新创剧目为主潮,但不难感受到整理改编传统剧目已然回温,仅以昆曲为例,近年有三本《牡丹亭》、四本《长生殿》和上下本《西厢记》呈现于舞台;在今年的第十届中国艺术节中整理改编传统剧目所占比例为历届之最,涌现出京剧《香莲案》《飞虎将军》昆曲《景阳钟》、新版汉剧《宇宙锋》、评剧《赵锦棠》等为人津津乐道的剧目。当下整理改编传统剧目集体 Since the beginning of the new era, opera creation has pursued more innovations and laggard inheritance. Mr. Liu Housheng once called for emphasis on arranging and reorganizing traditional repertoire and advocating seeking new ideas from the old for the purpose of this unbalanced phenomenon. In recent years, although it still takes the newly created repertoire as the main trend, it is not difficult to feel that the rehearsal of the traditional repertory has returned to normal. Only Kunqu Opera, for example, has produced three copies of The Peony Pavilion, four copies of The Palace of Eternal Youth, Presented in the stage; in the Tenth China Arts Festival this year, finishing the reorganization of the traditional repertory as the most previous period, the emergence of the Beijing Opera “Xiang Lian” “Flying Tiger” Kunqu Opera “King Yang Bell”, the new Chinese drama “universe Feng ”, Pingju“ Zhao Jintang ”and other relish repertoire. At the moment finishing the adaptation of traditional drama collective