二人转艺术在其近三百年的发生、发展的流变中,与其精华并存的,还有脏和丑糟粕的一面。在“文革”前十七年的“戏改”中,在净化二人转舞台这方面,确实收到了可喜的成效。但是与此同时,好的东西也丢掉了不步。加之简单地机械地套用斯坦尼斯拉夫斯基的体现派的戏剧理论,导致戏曲歌剧化、二人转戏剧化和歌舞化的不良倾向,使得二人转那种跳出跳入的鲜活的表现方式和丑角艺术的喜剧精神,几乎丧失殆尽。改革开放以来,人们的思想在多年的禁锢中解放出来, In the course of nearly three hundred years of its occurrence and development, the two-person art coexisted with its essence as well as dirty and ugly dregs. In the “dramatization” of the first seventeen years of the “Cultural Revolution,” indeed, we have enjoyed gratifying results in purifying the stage of two-person revolution. But at the same time, good things are lost. In addition, the simplistic mechanical application of Stanislavsky’s dramatic theory of drama leads to the unhealthy tendencies of opera opera, duo dramatization and song-and-dance, which make the duo turn into the vivid expressions and clown art Comedy spirit, almost lost. Since the reform and opening up, people’s thoughts have been liberated from many years’ imprisonment.