20世纪的中国戏剧在时代风云的变幻激荡中,经历了一个艰难曲折的发展历程,它的现代性追求和现代化步伐,屡屡遭遇来自社会、政治和文化的种种强大阻力。与此相对应,百年中国现代戏剧研究也同样可谓步履艰难。但尽管如此,中国现代戏剧及其研究还是结出了一串串果实。暂且抛开以曹禺等为代表所创造的诗化现实主义话剧和分别以田汉、梅兰芳为代表所开创的两条各具其价值的戏曲革新道路这些成果不谈,就现代戏剧研究而言,如果以王国维的古典戏 In the changing turmoil of the times, the 20th century Chinese theater has undergone a difficult and tortuous course of development. Its pursuit of modernity and the pace of modernization have repeatedly encountered all sorts of powerful resistance from society, politics and culture. Correspondingly, the study of modern Chinese drama in the past century can be described as equally troubling. However, in spite of this, Chinese modern drama and its research have come to fruition. For the time being, aside from the poetic realism dramas created by representatives such as Cao Yu and the two respective road to revolution in drama, represented by Tian Han and Mei Lanfang, respectively, these achievements are not discussed in terms of modern drama studies If the classical drama of Wang Guowei