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王仁杰在理论主张和创作实践上都坚持戏曲复古,但其《琵琶行》、《柳永》、《蔡文姬》等从形式到精神内核都全面复古的作品无一例外都在艺术上并不成功;而其《董生与李氏》等作品的成功却恰恰在于精神内核上对传统的突破,在于其作品中现代意识的注入、对“个人”及其人性的发现,在于其戏曲是“人的戏剧”。王仁杰的戏曲作品在传统和现代之间的矛盾也使其《董生与李氏》等成功剧作呈现出表面上传统、实质上现代的双重面貌。
Wang Renjie insisted on drama and drama in both theory and practice. However, his works such as “Pipa”, “Liu Yong”, and “Cai Wen Ji”, all of which are retro and complete in form and spirit, are not successful in the arts . However, the success of his works such as Dong Sheng and Lee’s is that the breakthrough in the spiritual nucleus to the traditional lies precisely in the influx of modern consciousness in his works. The discovery of “personal ” and its humanity lies in that the drama is “People’s drama ”. The contradiction between traditional and modern drama of Wang Renjie’s operatic works has also made his success plays such as Dong Sheng and Lee’s Lee Soon Lee appear on the surface of a seemingly traditional and essentially modern double appearance.