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蓝青在《关于冲击波的思索——兼评“戏曲消亡论”》(载《戏剧艺术》1984年第三期)一文中说,面对电视冲击波,有的同志说“戏曲接近尾声”,文章认为,这是新戏曲诞生前的序歌,不妨从下列四个方面去作考察。其一,从传统审美观的继承因素.看民族戏曲的生命力。“戏曲接近尾声”,主要依据无非是:想看戏曲的青年观众寥寥无几。君不见新一代戏曲观众正在老年、中年戏曲观众的熏陶及影响下,慢慢地向戏曲艺术接近,只不过暂时还表现得不那么明显。再看我国戏曲发展史的流程,明传奇取代元杂剧,“花部”取代“雅部”……猛一看,旧的剧种“死了”,新
In his article “On the Impact of Shockwaves - Commenting on” The Disappearance of the Opera “(article” Theatrical Art “, 1984, No. 3), Lan said that in the face of television shock waves, some comrades said that” the opera is coming to an end “ That this is the prelude to the birth of the new opera sequence song, may wish to examine the following four aspects. First, from the inheritance factor of the traditional aesthetic view, see the vitality of the national opera. ”The drama is coming to an end“, the main basis is nothing more than: Want to see the drama of young viewers are few. Do not you see a new generation of opera The audience is under the influence of the elderly, middle-aged opera audiences and influence, slowly approaching the art of opera, but temporarily not so obvious. Look at the flow of the history of the development of Chinese drama, the Ming Dynasty to replace the Yuan Zaju, ”Flower Department“ to replace ”Ya Department“ ... ... a fierce glance, the old drama ”dead", new