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禁戲政令下兩岸京劇的敘事策略前言 --- 00 000000一、禁戲政令下台灣京劇的敘事策略0-000 0- 0 -- 0000-0 0- 00--0- 0-00 0 00--- 0---000-- 00-0- --0- 000 00--000 --00 00 -0-二、禁戲政令下大陸京劇的敘事策略及其影響0 --（一）、「污辱勞動人民」牽涉的著名例子《三岔口》（二）、「階級歧視」影響的著名例子《鎖麟囊》 000 00 00---（三）、「舞台形象淨化」對表演藝術和劇場規律的影響-0--（四）、「禁止迷信」的影響 00---0 - -- --00 00 -- Q -- 000- -- 00-0-0-0晗餘 論 --- 00--禁戲政令下兩岸京劇的敘事策略0關鍵字：京劇 禁戲 改戲 匪戲 當代京劇 禁演--WANG An-chi“The Prohibited Drama” in China classical drama reflects the monitoring of art from politics. It shows the fearfulness of the in about the power of drama. The issue is not only about politics but also the China classical drama itself. When the plays which so as to makes a living is prohibited, how the actors/actresses deal with the situation? How the actions of modifying the drama to adapt to the prohibition effect the theater standard and even the drama culture? How the audience treats those revised editions, and what kind of the message revealed from their attitude? These questions are involved with the politics, the society, the customs, the drama-modifying, the theater rule, and are closely linked with the taste of Chinese classical drama. In this article, I try to solve the above questions. The time scope is the present age (from to now), the discussion is mainly focused on Peking Opera, and the region covers Taiwan and Mainland China.Keywords: Peiking Opera Prohibited Drama Communist Drama Drama-modifying Contemporary Peiking Opera--徵引書目00 00000000000000000--