20世纪伊始,随着现代派戏剧和后现代戏剧的发展,“仪式感”在实验戏剧的剧团中,成为了一个“流行”的名词。富于创造力的现代派艺术家们,自由地在任何可能的领域中寻找灵感。受贝克特和谢克纳或安托万·阿铎①和格洛托夫斯基的影响,很多现代戏剧导演,虽然对诸如美国生活剧团或表演剧团不甚了解,但也或多或少地在创作中渗透了“仪式感”。实际上,这种影响不是来自于舞台上的演出(因为看过的人很少),更多的是作品文本以及对于作品的评论。当然,对文本的研究并不会降低这些先锋艺术家们的成就。对于这些艺术家以及追随 At the beginning of the 20th century, with the development of modernist drama and postmodernist drama, “sense of ritualness” became a noun of “pop” in the theater of experimental drama. The creative, modernist artists are free to find inspiration in any possible field. Influenced by Becket and Shechener or Antoine Eddie and Grotowski, many modern theater directors, although not known to American theater troupes or theatrical troupes, are more or less In the creation of infiltration “sense of ritual ”. In fact, this effect does not come from the stage performances (because few people have seen), more of the text of the work and comment on the work. Of course, the study of the text does not detract from the accomplishments of these avant-garde artists. For these artists as well follow