从两千多年前亚里士多德的《诗学》开始,流传至今并且仍然占据统治地位的关于戏剧结构的传统观念,都是认为,戏剧结构是对一系列事件的安排或对情节的组织,因而有许多人习惯上又将戏剧结构称为“情节结构”。从这种观念出发,中外历来的戏剧结构理论尤其是对结构工作所提出来的种种具体要求,主要都是围绕着对外部情节性因素(如规定情境、事件、冲突、场面、人物关系、贯串行动等等)如何进行技术性或技巧性处理这样一 From Aristotle’s “Poetics” more than two thousand years ago, the traditional notion of the theater structure, which has spread to the present day and still occupies the dominant position, is that theater structure is the arrangement of a series of events or of plotting Organization, so many people are accustomed to call drama structure “plot structure.” From this point of view, the theory of theater structure in both China and foreign countries, especially the various concrete requirements put forward by structural work, is mainly based on the analysis of the external circumstances (such as situations, events, conflicts, scenes, characters, Action, etc.) How to deal with this technically or skillfully