曹禺创作《原野》的时期 ,正是文艺从文人化向大众化靠拢的时期 ,时代风尚即阶级意识帮助曹禺做了迎合“观众的趣味”的选择。本文以“观众的趣味”即观众的审美定势为切入点 ,指出《原野》是以牺牲自己的戏剧审美理想为前题的尴尬而又痛苦的尝试。它既不是表现主义剧作也不是佳构剧 ,而是对两者并不成功的综合创新 The period of Cao Yu’s creation of “Wilderness” is exactly the period from literati to literary popularization. The fashion of the times, that is, the class consciousness, helped Cao Yu to make a choice to cater to the “audience’s interest”. This article takes “the audience’s interest” as the audience’s aesthetic tendency as an entry point, and points out that “Wilderness” is an awkward and painful attempt to sacrifice the aesthetical ideal of drama. It is neither a play of expression nor a play of well-being, but an unsuccessful comprehensive innovation of both