关于戏剧危机的讨论,已历十年之久。关于吉剧——这一诞生近三十个春秋的新剧种,它的生存与发展,也在根本上涉及到危机性。吉剧,作为东北二人转艺术同戏曲艺术人工聚合而成的产物,在过去几十年的实践中,突出的特点是模仿态势。可我们稍加思索就会知道,这一模仿态势除却增强了吉剧的一般特征外,并没有更多地和建设性地显示与创造出吉剧之为一个新生剧种的个性化因素。吉剧于今所具有的节奏、舞蹈、技巧等方面的风格特征,实际上在相当大的程度上仍源于产生它的母体——东北二人转和其它成熟的戏曲剧种。在整个戏曲艺术萧条的今天,吉剧自不能幸免。其可悲意义在于:萧条在吉剧未能 The discussion of the drama crisis has been around for ten years. About Ji Opera - the birth of nearly thirty new plays in the Spring and Autumn Period, its survival and development are also fundamentally related to crisis. As the product of artificially aggregating the art of the two duos in northeastern China with that of traditional opera, the outstanding feature of the ji opera in the past few decades is the imitation of the situation. However, as we shall know, we can know that this imitation situation has not enhanced the general characteristics of Ji opera and has not more and constructively displayed and created Ji drama as a new element of the new drama. The style characteristics of the Ji opera in terms of rhythm, dance, technique and so on are in fact largely derived from the mother-daughter generation of Dongbei duo and other mature opera productions. In the whole depression of the drama today, Ji opera can not be spared. Its tragic meaning is: depression in the Ji drama failed