清初苏州剧坛具有多维度研究价值。然而学界尚缺乏对它的整体研究和戏曲史观照。因此本文将清初苏州剧坛作为一个整体，置于戏曲史脉络之中，考察它在社会文化与戏曲文体作用下的复杂状貌与生成过程，以重估其戏曲史地位。

清初苏州戏曲作家分布于吴县、太仓两中心及常熟、长洲、昆山构成的三角带，虽然具有一定的州县差异和经历区别，却同为文人，且彼此往来。与此同时，伴随其与外地文人的交游，苏州与其他地区产生戏曲联系，他地文化汇入、融合，而其精妙艺术、多元性格、文化品位、时代通感亦辐射至各地。

出于明清鼎革时局与戏曲发展等原因，清初苏州戏曲题材丰富，且视野转向社会现实。这促使其打破明代戏曲题材相对单一的格局，趋向元代。清初苏州戏曲作家将明清易代作为戏曲表现对象，发展了明中后期时事剧凸显忠奸斗争的编排模式，映照着源于元代戏曲的写实精神；同时又多选择历史素材，继承元代戏曲反映民族矛盾时的寄托传统，通过明清易代的历史影射，表达传统家国观念转变、松弛等时代性精神动向。

凭借与元代戏曲时代背景、题材格局等的精神暗通，以及持续明代的复古思潮，特别是北曲对传奇的建构意义，元代北曲杂剧始终不出清初苏州戏曲视野。清初苏州14种杂剧中，有11种纯由北曲谱成。对于占剧坛主体地位的传奇，北曲亦以多种形式进入其中。《昊天塔》《风云会》等传奇则直接由同题材元杂剧移植。与之相应，还出现总结、辨正北曲规范的《北词广正谱》。清初苏州剧坛呈现出杂剧、传奇深度融合的文体面貌。

在戏曲观念层面，通过汤沈之争的调和，清初苏州戏曲形成了雅俗共赏、文律和谐的审美风格，回归至元代戏曲的精神风貌。与此同时，又将汤沈之争拓展、深化，转向关目、排场、结构等其他戏曲元素，建构起多维、成熟的戏曲观念，形成对元明戏曲的超越。戏曲艺术的文学性与舞台性自元代之后实现了又一次、真正意义上的融合。反馈在实践上，这一观念则表现为清初苏州戏曲案头场上两擅其美的接受效果。

正是在社会文化与戏曲文体的相互生发下，在向前发展与回向经典——元代戏曲的二律背反中，清初苏州剧坛呈现出上述诸种状貌，成为古代戏曲继元代之后的又一座高峰。

Suzhou opera in the early Qing Dynasty has multi-dimensional research value. However, the academic circle's overall research and historical observation of opera are relatively weak for it. Therefore, this paper takes Suzhou opera as a whole, in the context of the development of opera, investigates its complex appearance and formation process under the interaction of social culture and opera style, so as to reevaluate its position in the history of opera.

In the early Qing Dynasty, Suzhou opera writers were distributed in Wuxian, Taicang, the two centers, and the triangle area formed by Changshu, Changzhou and Kunshan. Although there were certain differences in prefectures and experiences, they were both literati and corresponded with each other. At the same time, along with the communication with the literati from other regions, Suzhou had developed the connection of opera with these regions, and the culture of other places converged and merged. Suzhou’s exquisite art, diversified character, cultural taste and time consciousness also radiated to all parts of the country.

Due to the regime change and the development of opera, Suzhou opera in the early Qing Dynasty had rich themes and turned vision to social reality, which prompted them to break the single pattern of opera in the Ming Dynasty and turn to the Yuan Dynasty’s. It took the regime change as the object of opera expression, developed the current affairs drama since the middle and late Ming Dynasty which had the arrangement mode to highlight the conflict between loyal and evil, reflecting the realistic spirit from the Yuan Dynasty opera; At the same time, the author chose historical materials to inherit the tradition of the Yuan Dynasty opera when it reflected the national contradictions, and expressed the spiritual trend of the times, such as the transformation and relaxation of the traditional concept of family and country, through the historical allusion of the regime change.

With the similarity to the background and theme pattern of the Yuan Dynasty opera, as well as the ideological trend of restoring ancient ways in the Ming Dynasty, especially the construction significance of the Beiqu and Zaju on the Chuanqi, the Beiqu and Zaju of the Yuan Dynasty remained in the field of Suzhou opera in the early Qing Dynasty. Of the 14 kinds of Zaju in Suzhou in the early Qing Dynasty, 11 were composed of Beiqu. Beiqu also entered into the Chuanqi in various forms, which occupied the dominant position in the opera circle. Chuanqi such as "Haotian Tower" and "The Storms" were directly transplanted from the Zaju of the Yuan Dynasty of the same theme. Correspondently, there was also the summary and normalization of Beiqu "Beici Guangzheng Spectrum". At the beginning of the Qing Dynasty, Suzhou opera cicle presented a style of deep integration of Zaju and Chuanqi.

In terms of the opera concept, Suzhou opera in the early Qing Dynasty formed an aesthetic style of both elegance and popular appreciation and harmony of literature and law through the reconciliation of the dispute between Tang Xianzu and Shen Jing, which returned to the spirit of opera in the Yuan Dynasty. At the same time, it expanded and deepened the dispute between Tang Xianzu and Shen Jing, turned to other opera elements, such as the plots, the stage set and the structure, and constructed a multi-dimensional and mature concept of opera, which formed the transcendence of Yuan and Ming opera. The literary and stage nature of opera art had realized another real integration since the Yuan Dynasty. Feedback in practice, Suzhou opera in the early Qing Dynasty was popular both on the desk and stage, it had a good reception effect.

It is under the mutual perspective of social culture and opera style, and in the contradiction of developing and returning to the classics -- Yuan Dynasty opera, Suzhou opera circle in the early Qing Dynasty showed all the above forms, and became another peak of ancient opera after the Yuan Dynasty.