舞台是世界的模型。立体的、可视、可听的感性呈现,是戏剧内容的存在方式。不管包容着多么复杂、多么深刻的含义,不管蕴涵着多么丰富、多么微妙的情致,它都必须直接呈现于观众的视听面前。戏剧观念千差万别,有一点却是共同的,戏剧首先是感受的对象,必须有具体的、生动的形式。差别在于,对形式及其物态化特征在戏剧艺术活动中的功能与意义的不同认识。狭隘的功利美学观念认为,一部戏剧作品的美学效应仅仅存在于思想内容之中,形式只是内容的载体与外壳,只具有技术性意义,否认形式在戏剧艺术中的本体地位。内容决定形式这一辩证命题,在他们那里成了一句没有任何实质内容的终极真理。内容与形式的辩证关系是什么?内容究竟是怎样决定形式的?几乎没有作过认真的阐述,恰恰在研 The stage is a model of the world. Stereoscopic, visual, audible sensual presentation, is the existence of drama content. No matter how complex and profound its inclusiveness is, no matter how rich and subtle its implication is, it must be presented directly to the audience. Drama concepts vary widely, but one thing is common, drama is the first object of feeling, there must be a concrete, vivid form. The difference lies in the different understanding of the functions and meanings of forms and their materialized features in dramatic arts activities. The narrow utilitarian aesthetic view holds that the aesthetic effect of a dramatic work exists only in the content of thought. The form is only the carrier and the outer cover of content, which is of technical significance and denies the ontological status of the form in drama art. The dialectical proposition of content-determining forms, in them, constitutes the ultimate truth without any substance. What is the dialectical relationship between content and form? How exactly is the form determined? There is almost no elaboration, just in the research