“写意”系中国戏曲固有的“戏剧观”,但是,到了现代以至当代,只是比较地道地保留于一些古老剧种的部分传统剧目之中。就整个戏曲领域来说,现状已经是千差万别,程度上、质地上都已不是纯粹的“写意戏剧”。尤其在当今戏曲舞台上,就“戏剧观”而言,早已乱套了。作为“写意戏剧”的戏曲,有的处于同“写实戏剧”混杂一起、生硬拼凑于一堂的状况,有的则是早已淡化了“写意”性,并在日益淡化中。 “Freehand” is an inherent “dramatic view” of Chinese opera. However, it has been preserved in some traditional repertoire of ancient operas until now, as well as from the modern times. As far as the entire opera field is concerned, the status quo is vastly different. To a certain extent, the texture is no longer a purely “freehand drama.” Especially in today’s drama stage, as far as the concept of drama is concerned, it has long been a mess. As a drama of “freehand drama”, some are in the same situation as “realistic drama”, and they are put together in a piecemeal style. Others have already played down the “freehand” character and are gradually desalinating.