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在清代两百多年戏曲批评的历史中,存在着这样一条清晰的脉络,就是“崇古”与“尊今”两个思想势力的较量。崇古,是力求戏曲在形式表现、情感主旨等方面,向戏曲典范时代——元代寻求重振的根据与元素;尊今,是指以现今中的“我”作为戏曲艺术创作、表现与审美判断的主体,要求戏曲走出传统,顺应当今。“崇古”和“尊今”这两股对立的思想势力,在清代不同时期、不同社会文化背景的作用下,显现出不同的面貌,它们发生较量的实质,其实是清代艺术前现代与现代发生断裂的一种表现。
In the history of more than two hundred years of drama criticism in the Qing Dynasty, there was such a clear context that the struggle between the two ideological forces of “worshiping ancient times” and “respecting today”. Chonggu, seeking to play opera in the form of performance, emotional themes, etc., to the era of exemplary opera - the Yuan Dynasty seeking to revitalize the basis and elements; respect for this, refers to the current “I” as a drama creation, The subject of performance and aesthetic judgment requires the opera to go beyond tradition and conform to today. In the different periods of the Qing Dynasty and under the influence of different social and cultural backgrounds, the two opposing ideological forces, “Chonggong” and “Zunjin,” have shown different visions. The essence of the contest between them is actually clear A manifestation of the rupture of the pre-modern and modern generation.