一、引子谈论中国和西方的戏剧模式之差异,这本身是一个可能被称之为伪命题的危险行为。原因很简单,全球化时代,谈论中国戏剧在世界戏剧中的位置,或者进行比较文学意义上的研究,总是觉得这种“中—西”的划分过于二元对立,乃至往往合乎逻辑地被诟病为“孤芳自赏”。确实,在全球化时代,由于中国戏剧在艺术性和审美性等领域的徘徊不前,将这个国别的修饰词与别国诸如英国、巴西、印度单独比较还可以,但倘若将中国与其他的世界各国或者一个群体进行比较,无意中似乎自我的抬高了中国的地位,又顺势等于将别国的地位降格为西 I. Introduction The discussion of the differences between the modes of drama in China and the West is itself a dangerous act that may be called a pseudo-proposition. The reason is very simple. In the era of globalization, talking about the position of Chinese drama in the world’s theater or studying the comparative literature, we always think that the division of “China-West” is too binary and often logical To be criticized as “solitude ”. Indeed, in the era of globalization, since the Chinese drama is lingering in such fields as art and aesthetics, it is still possible to compare this country-specific modifier with other countries such as Britain, Brazil and India alone. However, if China and other Comparisons between countries or one group in the world have inadvertently seemed to elevate China’s position by itself and to follow the trend of equal reduction of the status of other countries to West