这个提纲,不去追求中国戏剧的起源、及戏剧历史演变的情况,只谈戏曲发展到现在的情况。中国现代的著名戏曲家王国维说:“戏曲者谓以歌舞演故事也。”既以歌舞演故事就涉及到好些不易解决的问题。如歌舞剧的主题、题材和情节结构的问题;演员的技术功夫如何体现人物的形象问题;观众既欣赏歌舞技术又要评论人物的问题。中国戏曲的所谓歌舞,不是纯歌而无舞,也不是纯舞而无歌,而是把歌舞分为唱、念、做、打四种表演形式。这四种表演形式既有一定的分工。又有一定的综合。中国古代的《乐记》就有一种概括的说法:“诗言志,歌咏声,舞动 This outline, instead of pursuing the origin of Chinese drama and the historical evolution of the theater, only talks about the development of the drama to the present. Wang Guowei, a well-known Chinese modern opera singer, said: “The opera singers also call theatrical songs and stories.” Both singing and dancing stories involve issues that are not easily solved. Such as the theme of opera, theme and plot structure; how the artist’s kung fu skills reflect the image of the characters; and the audience not only appreciate the technique of song and dance but also comment on the characters. The so-called song and dance of Chinese opera, is not pure song without dance, nor pure dance without song, but the song and dance is divided into singing, reading, doing, playing four forms of performance. These four forms of performance both have a certain division of labor. There is some synthesis. Ancient Chinese “music” there is a general statement: "Poetry and speech, singing voice, dancing