尽管这是一本评论刊物,我依然愿意首先推荐在第一届“全球泛华青年剧本创作竞赛”中获奖的剧本《拳难·拳难》,该剧聚焦于1900年被义和团包围的西什库教堂,拳民、教民、主教等所有角色均由五名叙事者客串,剧中讲述的成分已经大大超过了扮演。似乎受到了布莱希特教育剧《措施》的某些影响,但《拳难·拳难》并无德式的冰冷与刻板。当亚里士多德定义戏剧时所摒弃的叙述重新回到剧场,叙述和扮演的关系究竟怎样?如同吕效平教授在《为市场创造新文体,还是为传统寻找新观众──析韩国国 Although this is a commentary, I would still like to recommend the “Fighting Boxing Fist”, a screenplay that won the first “Global Pan-China Youth Scriptwriting Contest,” which was focused on being surrounded by the Boxers in 1900 All the characters such as Sishkul Church, Boxer, Christians and Bishops are guest by five narrators, and the composition in the play has far exceeded that of the play. Seems to be affected by the Brechtian drama “measures” some of the impact, but “the boxing boxing difficult” there is no German style of cold and stereotypes. When Aristotle defines drama back to the theater when the narrative back to the theater, the relationship between narration and play exactly like Professor Lu Xiaoping "to create a new style of the market or to find a new audience for the traditional ─ ─ Analysis of Korea