我从戏曲作者角度,谈继承与发展中国戏曲的一点体会:把握中国戏曲思维特征,是把握中国戏曲过去、现在、未来的基本形态的一把钥匙。中国戏曲思维,同中外戏剧或艺术思维有共同特点。比如人们熟知的“物境、情境、意境”的阐释,黑格尔关于“情况、情境、情节”的论述,等等。王国维的“以歌舞演故事”,为戏曲思维勾勒一个大的轮廓;而剧诗说,对戏曲思维却有更加切实的启示。 From the point of view of the opera writer, I can understand the inheritance and development of Chinese opera. Grasping the characteristics of the thinking of Chinese opera is a key to grasping the basic forms of Chinese opera in the past, present and future. Chinese opera thinking has the same characteristics with Chinese and foreign dramas or artistic thinking. Such as people are well-known “object, situation, mood” interpretation, Hegel’s “situation, situation, plot” of the discussion, and so on. Wang Guowei’s “song and dance stories” outline a big outline for the opera’s thinking. However, the drama poem says that there is more practical enlightenment on opera’s thinking.