作为二十世纪八十年代中国先锋戏剧的代表人物,高行健基于戏剧的文学性和剧场性进行了大量的探索试验,将音乐的复调原理引入戏剧创作,并加以创新,创造复调戏剧理论,同时进行了诸多戏剧实践。他的这种试验于《绝对信号》发端,在《车站》中铺展,在足够的实践积累后创作出他复调戏剧的集大成之作《野人》。本文以这三部具有代表性的作品为蓝本,探索其复调戏剧在叙事时空、结构形式、主题思想上的开创价值。 As the representative of China’s avant-garde theater in the 1980s, Gao Xingjian conducted a great deal of exploratory experiments based on the literary and theatrical nature of the drama, introducing the polyphony principle of music into the creation of drama and making innovations to create the theory of polyphonic drama, At the same time a lot of drama practice. His experiment with this “absolute signal” started out in the “station” and, after enough practical accumulation, he created the masterpiece “Savage” of his polyphonic drama. Based on the three representative works, this article explores the pioneering value of its polyphonic drama in narrative time and space, structure and theme.