冯梦龙论戏曲情节

冯梦龙的戏曲情节理论非常丰富,他围绕着“传奇最忌支离”这一中心点展开自己的理论探索。他认为,戏曲应有一个中心人物和事件（或称主要人物和事件）,注意设计关目,密切关目之间的联系,这些理论的提出实为李渔“结构第一”、“密针线”论的先声和理论积累,对戏曲的创作和演出都有实际的指导意义,只是缺乏理性疏理,没有形成体系,因而限制了它的影响面。

Feng Meng-long's Talking About a Play Plot

Feng Meng-long's play plot is very rich,which outspreads his own theory exploration enclos- ing the center of 'romance taboos fragment'. He believed that a play should have a center person and an event, and pay attention to the designation and link of GuanMu. The advance of the theories is actually the accumulation of Liyu's thoughts on "structure first, and dense needlework".