自20世纪30年代以来,豫剧舞台上女演员大量兴起,随着陈素真、常香玉、崔兰田、马金凤、阎立品、桑振君“六大名旦”地位的确立,旦角演员遂成豫剧舞台支柱。生行虽不乏一些名家佼佼者,如唐玉成、唐喜成、刘忠河、王素君等,但都难以打破旦行独秀局面。因此,整个豫剧舞台的脚色生态平衡被打破,不少以男角为主的剧目遂渐消失,豫剧美学气质也呈现阴柔压倒阳刚之倾向。此局面形成有深刻的戏剧史缘由,但一个剧种的繁 Since the 1930s, the number of actresses on the stage of the Henan Opera has risen sharply. With the establishment of the positions of Chen Suzhen, Chang Xiang Yu, Cui Lantian, Ma Jinfeng, Yan Liping and Sang Zhenjun, . Although there is no shortage of students some famous leader, such as Tang Yucheng, Tang Xicheng, Liu Zhonghe, Wang Sujun, etc., but difficult to break the Danxian independence show. Therefore, the ecological balance of the footsteps of the entire Henan opera stage was broken, and quite a few plays mainly based on the male horns gradually disappeared. The aesthetic temperament of the Henan opera also showed the tendency of overcoming masculine femininity. This situation formed a profound reason for the history of the drama, but a variety of drama