1980年以来,作为中国民族戏剧形式的戏曲艺术遭遇严重的生存危机,而戏曲脸谱作为戏曲艺术的重要构件,因其程式性、脸谱性而备受争议。要想在大众文化时代为当代观众所认同,戏曲脸谱、戏曲艺术必须寻求发展良机。将戏曲脸谱当作一种非物质文化遗产的形式,有利于取得政策性扶持,利用“生产性方式”予以保护与传承,一方面在媒介传播与媒介融合中加以有效应用,扩大戏曲受众群体,另一方面在剧目创作中革新表意符号,实现传统与现代的结合。但是,戏曲脸谱兼具非遗分类中民间美术和表演艺术的双重性质,演出实践中“保护派”与“革新派”又有很多意见冲突,其文化定位、市场定位变得复杂起来,许多问题有待进一步讨论。 Since 1980, opera art as a form of Chinese national drama has suffered a serious crisis of existence. As an important component of drama art, opera masks are controversial because of their stylistic and facial features. In order to be accepted by contemporary audiences during the mass culture era, opera masks and opera arts must seek opportunities for development. The use of opera masks as a form of intangible cultural heritage is conducive to obtaining policy support and protection and inheritance through the use of “productive modes ”. On the one hand, it can be effectively applied in media communication and media integration to expand audiences Groups, on the other hand, innovate the ideographic symbols in the composition of the repertoire to realize the combination of tradition and modernity. However, there are many conflicts of opinion between “protectionist” and “innovationist” in the performance of opera in the performance of both opera and folklore because of its dual nature of folk art and performing arts in non-classifications. Its cultural orientation and market orientation are complicated Up, many issues need further discussion.