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三 对地方戏的研究,到乾嘉阶段出现了可喜的转折。这个阶段,终于出现了《花部农谭》、《秦云撷英小谱》等以地方戏为课题的研究著作,也能从《扬州画舫录》、《剧话》和《燕兰小谱》之类的书籍中看到一些涉及地方戏剧种剧目、表演艺术的资料。 这个转折的出现,可能包含下列三个原因。首先是地方戏也在艺术上有所提高,丰富的剧种,蓬勃的朝气,独特的风格,即便不如昆剧成熟,对于渴望更新耳目的观众来说,确实是够刺激的。这样,地方戏不仅从农村与小镇进入城市,而且堂而皇之地进入京城,占领了舞台,抢走了昆剧的观众。徐孝常在乾隆九年撰写《梦中缘传奇序》时,描绘了北京的情景: “长安之梨园,……所好惟秦声、罗、弋,厌听吴骚,闻歌昆曲,辄哄然散去。”在士大夫集中的京城,亦即支持昆剧最力的地区,昆剧都败得如此狼狈,何况其他。由之可证地方戏气焰的炽烈！这种情况下,地方戏当然会引起士大夫的注意。
The study of the three pairs of local plays showed a welcome turning point to the stage of Qianjia. At this stage, there appeared the research works such as “Huabeidongmitan” and “Qin Yunying Yingpiao” with the local drama as the subject, and also from “Huafang recorded in Yangzhou”, “drama” and “Yanlan small spectrum” Some of the books that cover the local drama series, performing arts information. The emergence of this turning point may include the following three reasons. The first is that local operas have also been artfully enhanced. The rich operas, vibrant energies, and unique styles, if not as good as the Kunqu Opera, are truly stimulating for those who are eager to update their eyes and ears. In this way, local opera not only entered the cities from rural areas and small towns but also entered the capital in a grand manner, occupying the stage and robbing the audience of Kunju Opera. Xu Xiaochang in the nine years of Qianlong's writing “Legend of the Mid-edge Dream,” depicts the scene of Beijing: “Changan of the pear orchard, ... ... but good Qin sound, Luo, Yi, tired of listening to Wu Sao, Go. ”Kunqu Opera is so embarrassed in capital-intensive capital city, that is, the area that supports the most powerful Kunqu Opera, let alone the others. From the local opera flames blazing! In this case, the local drama will of course attract the attention of the scholar.