中国话剧并非真正的舶来品,而是一种在本土上发生的新兴民族戏剧。它脱胎于晚清的戏曲改良运动,与演说有着天然联系。演说本来是晚清政府推行的一种底层启蒙方式,因与传统戏本性相通而顺利引进戏曲创作。演说进入戏曲后,很快便将曲唱排挤出去,成为戏剧结构的核心。它改变了传统戏的歌舞抒情性质,奠定了话剧发生的基础,但也给话剧带来说教的弊病,遗害至今,难以根除。从发生学来看,回归广义的行动或动作,也许是中国话剧突破自身局限的惟一办法。 Chinese drama is not a real exotic, but an emerging national drama that takes place locally. It is born out of the late Qing drama reform movement, and has a natural link with the speech. The speech was originally a kind of bottom enlightenment method promoted by the government of the late Qing Dynasty. It introduced the traditional opera creation smoothly because of its interlink with the traditional opera. After the speech enters the drama, he quickly excludes the song and becomes the core of the drama structure. It changed the lyric nature of the traditional opera song and dance, laid the foundation for the occurrence of drama, but also brought drama to the drawbacks of preaching, so far, it is difficult to eradicate. From the perspective of genesis, the return to a broad sense of action or action may be the only way for Chinese drama to break through its limitations.