有戏剧危机么?未必。相对的萧条倒是存在的,但这是历史、人文、艺术发展之必然,原有的艺术形式总是受新兴的艺术形式的冲击,艺术品类的日益繁多,自然会减少各个艺术品类的对象占有。这大概就是艺术发展中一个带规律的现象。既是如此,当一种艺术形式走到“传统”阶段的时候,其“萧条”大概也就是不可避免的了。但萧条不等于危机;相反,萧条往往是思变的契机,求变的动力,结果是带来其艺术本体的新颖发展,且以其新的姿态参与艺术诸品类的竞争。戏剧如此,话剧亦是如此,而且总会在其形象上反映出来。那么,近年来我国话剧形象有什么明显的直观变化呢?时空拓展。《野人》所表现的时期,由现代追朔到亘古,使话剧舞台的时间跨度大大延长;《李宗仁》依人演事,展现了数国数地风光,使话剧舞台的空间幅度大大展宽。而《魔屋》的“时间永驻”,则是超越了时间属性的时间异化显示;《一个死者对生者的访问》的生死跨界,则是超越了空间实际的一种空间超实表现…… Is there a drama crisis? However, this is an inevitable historical, humane and artistic development. The original art form is always impacted by emerging art forms. The increasing variety of art types will naturally reduce the possession of objects of various art genres. This is probably a regular phenomenon in the development of the arts. As such, when an art form comes to the “traditional” stage, its “depression” probably is inevitable. However, depression is not equal to crisis. On the contrary, depression is often the turning point of change and the driving force of change. The result is a new development of its artistic body and participation in the competition of various art genres with its new attitude. Drama is so, the drama is also true, and always reflected in its image. So, in recent years, what is the obvious visual change of the drama in our country? The time represented by the Savage was chased from ancient times to ancient times, greatly extending the time span of the drama stage. “According to Li Zong-ren,” according to people, it shows the scenery of a few counties and vastly widens the scope of the drama stage. “ However, the ”timeless presence“ of ”House of Magic“ is a time-alienation display that goes beyond the time attribute; the life-and-death cross-border of ”a deceased’s visit to the living" is a kind of space super real performance ...