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作为文学家族中的一个分支和文学体裁的一种,戏曲文学如同小说、诗歌等文学形式一样,应自有其独立存在的价值。另一方面,作为综合的戏曲艺术中的一个有机的组成部分,戏曲文学如同戏曲音乐、戏曲美术等艺术形式一样,必须服从和依赖于演出,它的价值主要是体现于戏剧舞台的。因此,戏曲文学具有文学与戏剧的双重属性。一部成功的剧作,自然应该尽可能地求得这两者之间的和谐统一,但要达到这种境界,也不是很容易的。著名作家老舍根据自己的实践经验,曾经讲到写戏的难处:“顾舞台,失了文艺性;顾文艺,丢了舞台。”《简明不列颠百科全书》的“戏剧文学”条指出:“戏剧文学一词含有一种矛盾:文学意味着写
As a branch of literary family and genre of literary genre, opera literature, like novels, poems and other literary forms, should have its own independent value. On the other hand, as an integral part of the integrated drama art, opera literature, like opera music and opera art, must be subordinated to and dependent on performance. Its value is mainly embodied in the drama stage. Therefore, opera literature has the dual attributes of literature and drama. A successful play should naturally seek the harmony and unification of the two as far as possible. However, it is not so easy to achieve such a situation. According to his own practical experience, the famous writer Lao She talked about the difficulties of writing: “Gu stage, losing literary style; Gu Wenyi, losing the stage.” The “Drama Literature” of the Concise Encyclopedia of Britannica states: "Drama The word literary contains a contradiction: literature means writing