就剧本与舞台的关系方面说,中国戏曲同西方话剧走了两条不同的道路。西方的话剧从祭祀仪式上演的《酒神颂》中脱胎之后,就诞生了像埃斯库罗斯那样专事戏剧文学创作的悲剧作家。埃斯库罗斯的出现,不仅通过自己的戏剧文学创作使这门新兴的舞台艺术在形式上得到完善,如减少合唱队的抒情成份,突出对白的地位,表演者由一个增加到两个人,戏剧冲突也随之而至。而且,在相当程度上使早期的话剧舞台依附于作家的文学剧本——剧本高于舞台,剧作家通过一个成功的剧本创作可以扬名天下。至后来,为舞台而创作的话剧本分离出一种专供案头阅读的独立文体。中国戏曲不是这样。如以西汉时演出的角抵戏《东海黄公》为戏曲 As for the relationship between the script and the stage, Chinese opera has taken two different paths with Western drama. After the western drama was born from the “Song of God” performed at the sacrificial ceremony, tragedy writers like Aeschylus wrote dramatic literature. The emergence of Aeschylus not only improved this emerging stage art in form through his dramatic writing, such as reducing the lyrical composition of the choir, highlighting the status of dialogue, increasing the number of performers from two to one, drama Conflicts also follow. And, to a considerable degree, the early stage of the drama attached to the writer's literary script - the script above the stage, dramatists can make a name for themselves through a successful scriptwriting. Later, the script created for the stage separated an independent style specifically for the first reading. Chinese opera is not like this. For example, when playing the West Han Dynasty, the opera “Huang Gong of the East China Sea” is a drama