一、戏剧观念的进步与戏剧危机的深化文艺具有不可比拟性和超历史延续的特征,并非简单地否定或不断革命地上升。一个现代文艺家自然会比古代文艺家掌握更为丰富、更为有效的手段及思想表达自己的目的,这样,“文艺才能逐步接近在真正意义上的‘复归自身’。”进入二十世纪以后,小说失去了上个世纪末批判现实主义创造的不可重复的峰巅状态,但是,戏剧却出现了斯坦尼斯拉夫斯基、布莱希特等流派体系的形成,从奥尼尔的戏剧实验到梅特林克的静态戏剧,以及瓦格纳的“三T主义”歌乐剧的创作实践,伟大的剧作家也不乏其人:契诃夫、萧伯纳等等,而小说家在托尔斯泰、高尔基之后,又出现了高尔斯华绥、德莱塞、罗曼·罗兰及巴比塞。可以说,在二十世纪前半叶至中叶,戏剧和小说是并驾齐驱了。就是在这种情势下,话剧传入中国并得到了发展。至文明戏的出现,一批从日本和欧美归来的中国知识分子已完成了中国话剧的启蒙运动。那么,相对十九世纪的文坛状态,戏剧是否出现了回升和进步的态势呢?是不是因为时代的发展,戏剧就必然同步 First, the dramatic concept of progress and the deepening of drama crisis Literature and art has the incomparable and ultra-historical continuation of the feature, not simply to deny or continue to rise revolutionary. A modern literary artist will naturally acquire richer and more effective means and ideas than the ancient literary artists to express his own purpose, so that “the literary and artistic talent can gradually approach the true sense of” returning to itself. “After entering the twentieth century , The novel lost its irreplaceable peak status created by the criticism of realism at the end of the last century. However, the formation of genres such as Stanislavski and Brecht appeared in the drama. From O’Neill’s dramatic experiments to Maitland’s Static drama, and Wagner’s ”Three Tones" opera, the great playwrights also have many people: Chekhov, George Bernard Shaw, and so on, and the novelist appeared again after Tolstoy and Gorky Galsworthy, Dreiser, Roman Roland and Barbiese. It can be said that in the first half of the twentieth century to the middle of the 20th century, drama and novels kept pace. It is in this situation that drama was introduced to China and developed. To the emergence of civilized drama, a group of Chinese intellectuals returned from Japan and Europe and the United States have completed the enlightenment of Chinese drama. So, relative to the state of the nineteenth century literary arena, the drama has shown a situation of recovery and progress? Is it because of the development of the times, the drama must be synchronized