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在重视非物质文化遗产的当下,过往那种对传统的实质性的轻视已不复存在,这无疑是对口头禅式的“创新”的一种反拨,但创新依然是戏曲发展最核心的使命和动力,这不惟是现代戏的,也是传统戏和新编历史剧的,而无疑,现代戏所承担的依然是戏曲发展最深刻的寄托。翻开当代戏曲史,我们发现“推陈出新”之辩证和科学,也注意到始于延安时期的“戏曲改革”有一种意识形态的需要,但这不惟是政治需要所可以概括的,也许,这种政治需要进一步推动了戏曲的创新和向现代的转型,
At the moment of attaching importance to the intangible cultural heritage, the past neglect of tradition has ceased to exist. This is undoubtedly a counter-call to the “innovation” of the mantra, but innovation is still at the core of the development of Chinese opera This is not only the modern drama but also the traditional drama and the new historical drama. However, it is no doubt that what is assumed by modern drama is still the most profound sustenance of the development of Chinese opera. Turning to the history of contemporary Chinese opera, we find that the dialectical and scientific “innovation” has also noticed that there is an ideological need for “opera reform ” beginning in the Yan’an era, but this can not be generalized by political needs. Perhaps this political need further promoted the innovation of the opera and the transition to the modern era,