戏曲艺术在当今国内外受到高度重视，在戏剧界有不可动摇的地位，而戏曲的表演最大特点是程式性。学界对于程式表演的研究是比较有限的，多偏重于其实践和应用价值。且受西方现代思潮和新媒体技术的影响，人们对程式表演的价值和意义的理解竟逐渐被淡化或被歪曲。然而，无论从什么角度来看都不能绕开程式表演来谈戏曲。那么，程式表演到底是什么?它的审美特征又有哪些?另外，能否从接受美学和身体美学的现代角度去研究?今天程式表演到底有没有阻碍戏曲的发展?未来我们又如何对待和运用于程式表演? 一、关于戏曲程式表演的定义。回顾前人对程式表演的研究，发现它可以是诸如“定式”、“技术程式单元”、“法则”、“规范”和“共同的符号”等界定。本文总结其共通之处：程式表演是规范化的戏曲语汇，共同约定俗成的法式。其中，行当分类是角色形象类型化的程式表演语汇。而“唱、念、做、打”，是程式表演特有的规范化的表现形态。程式表演是辩证统一的，在舞台形象创作过程中是自由的，而不是僵化、古板的。凡是在舞台上取得了一定成就的演员，都对程式表演作了个性化的演绎；如流派的形成则是演员突破程式、扬长避短、建立个性的最高境界。 二、关于戏曲程式表演的审美特征。虚拟是程式表演审美的重要特征，一方面通过“实”创造出“虚”，并强调主观与客观的默契，力图突破物质条件的限制，从而表现了无限与有限的统一。这种“以身化物”的虚拟表演方式，带给了观众“物我一体”耐人寻味的审美体验。写意是程式表演审美的另一重要特征。它将自然之“象”与艺术家的情感相结合，追求似与不似的统一，塑造出写意化的形象。此外，本文从“写意动作”、“写意节奏”、“写意表演空间”和“写意脸谱”这四方面，分析了程式表演审美的意象特征；并将戏曲虚拟与写实话剧、哑剧、肢体剧和3D虚拟进行比较性的研究，得出结论：西方戏剧偏于客观真实，再现生活。而戏曲的程式表演是以虚拟的艺术手法来表现生活，不停留在生活的表面，着重发掘演员和欣赏者心境相通的物象。 三、接受美学与身体美学视野下的戏曲程式表演。过去对程式表演的研究过多的是从文人、士大夫的生活与理想追求中寻找戏曲的文化价值观念，对“观演关系”在传播、发展中的研究不够重视。本文从接受美学的角度分析研究了程式表演审美接受的特殊性，认为程式表演不是简单的移情及从单纯的直觉形象来感受美，而是需要观众在“跳进跳出”以及在“互动”、“绝活”的“当下过瘾”中，感受程式表演有意味的留白、传神写意的幻觉感及特技的独特表演语汇，完成一次巅峰的审美体验。同时，本文从身体美学及道家文化“天人合一”出发，对程式表演语的身体语言作了深入的观照和独到的解读，认为它具有“圆”、“动静”、“迂回”以及“手、眼、身、步”身心合一的审美特色。此外，本文还将程式表演的身体语言与格洛托夫斯基、铃木忠志、贾克·乐寇等的身体训练方式进行了比较性的分析研究，在一定程度上拓展了戏曲身体美学国际化的思想视野。 四、戏曲程式表演的比较、传承与创新。戏曲艺术之所以能使如此众多的西方艺术家为之着迷，极为重要的原因就它有上千年的历史渊源，以及它那高度凝练的程式表演审美特征。随着时代的进步，我们需要大量探索和发展，并在“中外比较”和“古今比较”中探讨如何更好地传承与创新。但有关程式表演传承的争论，往往是复杂的、主观的。在保守派看来，程式表演在艺术上已经达到了完美程度，不需要改革和创新，因为创新会破坏戏曲的美。而改革派则相对乐观，鼓励创新，认为这是符合时代、市场、艺术的发展要求。本文认为，形式创新不可缺少，但丰富内容(剧本)更为重要。同时，要分清保护与创新、理论主张与实践创作的关系。如果我们用积极的心态去吸收新事物，结合戏曲本体的审美特性，有选择地利用时尚元素，借用互联网环境进行推广与传播，就可以在跨界中实现多元、兼容。当然任何时候创新不能违背艺术规律，我们追求的是：返本开新，推陈出新，固本求新。 关键词：程式；虚拟；写意；身体；创新 论文类型：理论研究

 The performance art is highly valued and even has an unshakable status in traditional Chines opera. However, there are a limited number of studies on stylized action performance in academic circles, and the multiple of them are of value to the practice and application. At the same time, due to the influence of western modern thoughts and new media technology, people's understanding of the value and significance of stylized action performance is gradually weakened. However, in whatever term we can't bypass the stylized action to talk about traditional opera. Therefore, what is program? Where does its aesthetic characteristic consist in? Besides, can stylized action be studied form the perspective of reception aesthetics body aesthetics? At present, is stylized action impeding the development of traditional opera? In the future, how should we perceive and employ stylized action? Looking back at our predecessors' study, we may find various definitions about stylized action, such as set action, skilled stylized unit, rules, regulation and common comma, etc. To sum up the common points: stylized action is the standard performing vocabulary of traditional drama and common rules. Among them, the classification of the walks is the stylized vocabulary of character image stylization. "Singing, articulating, doing and fighting" is the normalized expression characteristic of stylized action performance. In the discussion of stylized action, the relationship between the stylized action and the stylized thinking is clarified. Furthermore, the stylized is dialectical and unified, and it is free in the process of stage image creation, rather than staid. Any actor who has achieved a certain level of success on the stage has made a personalized interpretation of stylized action performance; the formation of genre, for example, is the highest state for actors to break through the process, to build up their strengths and to avoid their weaknesses. Chinese art creates nothingness through existence and nothingness through reality. The virtual is an important feature of the choreographed performance esthetic, through subjective and objective understanding, and breaking through the limits of material conditions so as to show unlimited and limited unity. In addition to the research on the origin, expression mode and its artistic characteristics of virtual performances, the research on the comparison of drama and reality drama, the dump works, the extremity and the 3D virtual reality is studied. It is no doubt that that western drama will be given the objective truth, and the program performance of the opera will play a virtual artistic way to show space time and role, not to stay on the surface of the life, focus on discovering the physical image that the actors and the viewer are in a state of mind. Image is another important feature of aesthetic drama program performance. It combines the "image" of nature with the artist's emotion, pursues the unity of seeming and dissimilarity, and creates the image of freehand. We've been able to explore the performance of the show, from "the motion", "the rhythm", "the writing", "the writing space", which has analyzed the image features of a programming aesthetic. In addition, we have explored the new subject of "image montage" to explain that opera to break the specific time and space of the reality, so that the audience can enjoy more aesthetic experience in association and imagination. In the past, the study of opera performances is always too much to seek the cultural value of the opera from the life and ideal of the scholar, the doctor and the ideals, and the research on the "how the relation" is not emphasized in the research and development. Therefore, this article analyzed from the perspective of western reception aesthetics opera programs show the particularity of aesthetic receiving. The aesthetic acceptance of a realistic drama is a process from psychological distance to transference. Performance is not a simple empathy and drama program and from pure intuition to feel the beauty of image. On the contrary, the audience needs to jump out, and in "the moment of the moment," and "in the moment," in "the moment of the moment," to experience the expression, the illusion of the act and the unique performance of the illusion and the special effects, and the aesthetic experience of the peak. Any play requires physical performance. Without body language, there is no way to speak of program performance, or even to summarize the aesthetic features of opera. Therefore, it is based on the aesthetic point of view, analysis of the opera performance program body unique esthetic dimension. It is that author's opinion that the aesthetic of the body is the key to the aesthetic of the opera. However, domestic focus on body aesthetics is still relatively slow, with respect to system research and enrichment in foreign countries. In this way, that body language of the Chinese opera house is the physical aspect of the Chinese Taoist culture, and the aesthetic characteristics of "circle", "action and motion", "roundabout", the aesthetic characteristic of "hand, eye, body, step", and the like. Meanwhile, in this paper, the body language of the opera program is compared with the physical training modes of Jerzy Gratowski, Tadashi Suzuki, Jacques Lecoq, and expands the ideological field of the aesthetic internationalization of the opera. The performance theory and training method of Michael Chekhov has emphasized the normalized psychological position, which is compared with the program performance so as to make an aesthetic comparison. On the other hand, under the impact of the diversified concept of drama, there are already small theater stylized performance show new styles. It expresses the value and thought of modern people and presents new performance and stage form. The debate about the inheritance of the stylized action opera is often complex and subjective. In the conservative view, the stylized action opera performance has reached a perfect level in art, and there is no need for reform and innovation, because innovation will destroy the beauty of traditional opera. The reformers were relatively optimistic and encouraged innovation, believing it was in line with the development requirements of the times, the market and the arts. It appear to us that that form of innovation is indispensable, but the richness of the content (scripts) is even more important. Meanwhile, we must distinguish between protection and innovation, theory and practice. If the idea is absorbed with a positive attitude, in combination with the aesthetic characteristics of the opera body, it is possible to use the fashion element selectively, to spread and spread the Internet environment, so as to realize the diversity and compatibility in the trans boundary. It is, of course, not possible to violate that rule of art at any time, and we are striving to turn fresh and relearn new and secure our book. KEY WORDS: Stylized Action Virtual Image Body Innovation THESIS STYLE: Theoretical Study