回首八十年代中国剧坛,确实留下了许多值得“玩味”的东西。一方面,在审美主体参与戏剧演出方面,出现了大面积的断裂;另一方面,在剧目创作和演剧形态上,又形成了多样化的格局。观众危机与戏剧创作(含演剧样式、理论研究)的繁荣,形成了鲜明的比照。由于二者之间在总体上说能很到位地契合,所以人们都习惯地说,戏剧艺术在面对当代观众的时候失落了。在这期间,中国剧坛却始终涌动着一股充满戏剧原始生命力和悲壮意味的潜流。这就是沈阳话剧团的探索之路。他们直面人生,置身于沸腾的时代,不断强化戏剧的内在张力,以便获得与当代观众“对话”的最基本条件。他们从《搭错车》、《走出死谷》、《榆树下的恋情》至到《喧闹的夏天》,接连在戏剧界制造了令人叹为观止的轰动效应,出现了具有启蒙意义的“沈话现象”。英国著名批评家佩·特·荷思达尔在评价十八世纪欧洲公共领域与文学批评的状况时,曾说:“权威、 Looking back at the Chinese theater in the 1980s, I really have left many things worth pondering. On the one hand, large-scale fractures have emerged in the performance of theatrical performances by the aesthetic subjects; on the other hand, they have also formed a diversified pattern in the form of drama creation and drama. The audience crisis and drama creation (including the style of drama, theoretical research) prosperity, formed a sharp contrast. As the two are generally well-integrated, it is customary to say that theatrical art is lost in the face of contemporary audiences. During this period, Chinese theater has always been surging with an underlying stream full of dramatic vitality and tragic meaning. This is the Shenyang Repertory Theater exploration. Facing their own life, they are immersed in boiling times and constantly strengthening the inner tension of drama in order to obtain the most basic conditions for “dialogue” with contemporary audiences. They made astonishing sensational effects in the theater industry from “take the wrong car”, “out of the dead valley”, “love affair under the elm tree” to “noisy summer” “. Pete Holdersdale, a famous British critic, once said in evaluating the public sphere and literary criticism in Europe in the eighteenth century: ”The authority,