Form and spirit are a basic and the most important pair of concepts in the aesthetics of traditional Chi-nese opera. The relationship between form and spirit in traditional Chinese opera is comparable to the way of crea-tion and expression in Chinese classical poetry and painting that fuses feelings with natural settings. In this way, objective sceneries and subjective emotions are combined to achieve unique artistic effects. Besides, the relation-ship between the concepts of abstraction and specification,derived from traditional Chinese aesthetics,also plays a significant role in operatic creations in that it reinforces the artistic flavor of traditional operas and expands the scope and possibilities of operatic creations. As another pair of concepts in opera performances,internality and externality find their best expression in opera actors and actresses who seek to achieve unity and harmony between internal expe-riencing and external performance. Finally,skill and artistry are elements embedded in operatic techniques. Actors and actresses seek to integrate their performing techniques into their artistic attainments by means of manipulating external technologies so as to project better stage images and achieve the artistic effect of unity of form and spirit.%形与神在戏曲美学范畴中是基础,同时也是最重要的一组概念.戏曲表演中形与神的关系,正如中国古典诗词和绘画中那种情景交融的创作和表达方式,将客观景物融于主观的情思之中,从而达到充满意境的艺术效果.从中国传统美学中提炼和总结出的虚实关系,在戏曲舞台创作中得到了充分的化用,使其更具有戏曲自身的艺术特色.虚实结合、虚实相生的美学创作原则,为戏曲艺术的创作,拓展了广阔的空间和无限的可能.戏曲美学范畴中的内外论,在戏曲演员的表演中表现得最为突出.戏曲的表演是体验与表现的统一,是一种内与外的和谐统一.功和法是包涵于戏曲技艺之中的元素,演员通过外在的技术手段将表演技巧与艺术境界融为一体,创造出更完美的舞台形象,力求达到形神兼备的艺术效果.
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