"現代戲曲"這一概念在今天有三種用法:1.從時間上看,指現代時期的戲曲;2.從題材上看,指表現現代生活的戲曲;3.作為一個文體概念和文化概念,指具有現代性品格的戲曲。這三種用法都各有適用范圍,但前兩者往往忽視現代性精神內涵。關于現代戲曲的現代性,呂效平先生在強調其現代精神的同時,亦強調其"情節整一性"的文體原則,傅謹先生則在忽視其固有的"啟蒙話語"的同時,強調技術的成熟及由此而產生的自律性、平民化。然而,無論文體原則還是技術手段,都只是"現代戲曲"的充分條件而非必要條件。"現代戲曲"是現代人改編與創作的具有現代精神、表達現代觀念的戲曲。

The concept "modern xiqu"is used usually in three senses: First,it refers to all xiqu works of the modern period;second,it refers to some xiqu works that depict modern life; third,as a theatrical and a cultural term,it covers works with the quality of modernity. These meanings apply to different fields,but both the first and the second overlook the connotation of modernity. When discussing the modernity of "modern xiqu",professor Lü Xiaoping emphasizes both modern spirit and the dramatic principle of "the unity of plot",and professor Fu Jin emphasizes virtuosity and the subsequent self-discipline and popularity. This article argues that both the dramatic principle and virtuosity are only sufficient conditions but not necessary conditions of "modern xiqu",because its core is modern spirit and idea. In a word,"modern xiqu"refers to xiqu works adapted and created by modern dramatists with modern spirit and idea.