中國戲曲是綜合的文學的和藝術，詩歌、無蹈和音樂則是戲曲的美學基礎。由於古代戲曲是在狹隘的劇場上演出，自然產生「虛擬象徵」寫意性的表演方式，逐漸形成宋元間的「格範」或「科汎」和「科介」，也就是今日所謂的「程式」。程式對「虛擬象徵」有所制約，戲曲表演的藝術原理才算完成，並衍生了歌舞性、節奏性、寫意性、誇張性與疏離且投入性的本質。 說唱文學對戲曲有強烈的的，它使戲曲成為一種詩劇，具有濃厚的敘述性質。戲曲的關目結構雖有展延性，卻缺乏逆轉與懸宕，不免板與冗煩的弊病。此外，由於故事題才不出歷史與傳說範圍，陳陳相因，再加上明清兩朝律令嚴酷，使戲曲的功能盤於娛藝和教化，很少能反映現實或寄託深遠。 然而戲曲源遠流長，變化雖多卻一脈相承，舞臺藝術極為高妙而完整，文學價值也可和詩詞並觀，是我國貴重的文化資產。虛擬象徵程式的表演藝術原理，更為舉世罕見。戲曲中最優雅最精緻的崑劇，已被聯合國認定是人類共同的文化資產，我們應當更加努力維護和發揚才是。

Chinese traditional drama, as synthesized literature and arts, has laid its esthetic bases one poems, dances, and music. In ancient times, drams were performed usually not in a very large stage; consequently the way of performance hand applied lots of ‘virtual symbolization’ to act impersonally. Gradually different frameworks of performing have been developed in song and Yuan Dynasties: ken-fan or ke-Jie, with their meanings equivalent to the contemporary term ‘program’. The program had confined the performance of ‘virtual symbolization’ to a certain extent; the principle of the art of drama performance was then established, deriving such essences of drama performance as dancing, rhythm, impression, exaggeration, alienation and involvement. Story-telling literature has brought a storing influence to bear on the drama, rendering it into a kind of poetic drama with a storing declarative nature. Although the plot of Chinese drama had the expediency of its oar, it lacked complication and suspension, unavoidably resulting in a situation of stereotype and monotony. Furthermore, since the materials adapted in the drama won’t exceed the sphere of history and legend, generation by generation without much radical change, and were controlled by the harsh laws during ching and heing Dynasties, the function of drama was limited only to entertainment and people’s enlightment without instead, reflecting the situation of the contemporary society or committing people to a certain future. Chinese drama has a long history, of variety yet from the same origin, and the art of stage was consummated. The value of the literature of Chinese drama has been of the same importance as poetry, the literature of Chinese drama being one of a highly-treasured cultural assets. What’s more, the artistic theory of ‘Virtual symbolization’ for Chinese drama was rarely found in the world. Among the finest Chinese dramas, Kun Opera has been recognized by the UNESCO was world common asset shared by all humanity. Chinese drama should deserve being preserved and developed all the better.