【摘要】 关汉卿是唯一一位能够同时兼顾剧本创作和舞台表演的元曲大家，他所代表的元杂剧完整体现了戏曲的民间艺术传统，并为后来的“花部”乃至京剧等地方戏曲所继承。梅兰芳的成就和影响是在民国时期市场化戏曲舞台上奠定的，其身体力行的创新无论是旦行演技还是理论启发，均能开一代风气之先，可谓是当代中国戏曲的标志性人物。就尊重戏剧本质、围绕舞台创作这一点而言，梅兰芳和关汉卿是相通的。作为古代和现代戏曲家的代表，他们的地位是历史和时代的必然。戏曲从业者只有围绕舞台进行创作和演出，才能永远植根于艺术生命的土壤，方有流传后世的基础，否则只能与当代生活渐行渐远。更多还原

【Abstract】 Guan Hanqing was the only master of Yuanqu who excelled simultaneously in playwriting and stage performance. The Yuan Zaju he represented fully embodied the folk art tradition of Chinese opera,which was inherited by later local operas,including the " Huabu" and even Peking Opera. Mei Lanfang’s achievements and influence were established on the commercialized opera stage of the Republican Period. Through his personal practice of innovation,whether in the performance skills of Dan roles( female roles) or theoretical inspiration,pioneered new trends for his generation,making him an iconic figure in contemporary Chinese opera. In terms of respecting the essence of drama and focusing on stage creation,Mei Lanfang and Guan Hanqing are connected. As representatives of ancient and modern opera artists respectively,their status is inevitable within their historical and temporal contexts. Only by centering creation and performance on the stage can opera practitioners remain rooted in the soil of artistic life and possess a foundation for transmission to posterity; otherwise,it risks drifting increasingly away from contemporary life.更多还原