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近百年来,随着中国社会变革、流行文化及非遗保护语境中的戏曲艺术演变,人们的欣赏趣味、审美观念都发生了根本性的改变,戏曲命运也几经转折。但简单的新旧二分法,否定文化传统,把传统戏曲当作原罪,盲目崇新崇洋在相当时期内大行其道。特别是五四时期,许多新文化领军人物对传统文化包括传统戏曲的全盘否定,影响延及到今天。当代普通群众对传统戏曲文化缺乏认同感和信任感,知识分子对戏曲的疏离态度,莫不受之影
In the recent one hundred years, with the evolution of Chinese opera, pop culture and non-stop protection in the context of drama art, people’s appreciation of taste and aesthetic concepts have undergone fundamental changes. The fate of opera has also undergone several changes. However, the simple dichotomy between the old and the new, denying the cultural traditions, treating traditional drama as original sin and blindly adhering to the cult became popular in quite a long period of time. In particular, during the May Fourth Movement, many new cultural leaders have denied traditional culture, including traditional drama, to the present day. Contemporary ordinary people lack the sense of identity and trust in the traditional opera culture and the alienated attitude of the intellectuals to the opera,