胡妙胜在1991年第六期《文艺研究》上以《开拓新空间》为题,探讨了环境戏剧的空间设计问题。胡文认为,尽管环境戏剧在表演、导演和剧作上都有其一定的特点,但其基本特征是对戏剧空间的使用。可以说,环境戏剧是一种以对戏剧空间使用为基础的演出方法。有意识地设计与使用整个戏剧空间是现代的戏剧运动,是二十世纪致力于革新的戏剧家为此不断探索的理想。与影视不同,戏剧是主体间的直接交往,是由演员与观众共同参与的活动。所谓剧场无非是戏剧活动的场所,或者说是演员与观众交往的场所,是他们共同参与的游戏空间。剧场的实质在于演员与观众之间的空间关系,这种空间关系制约着演员与观众的参与方式。对于不同的演出方式,观众卷入 Hu Miaosheng explored the space design of environmental drama in the sixth issue of “Literature and Art Research” in 1991 entitled “Opening up New Space”. Hu Wen believes that while environmental drama has its own characteristics in performance, director and drama, its basic characteristic is the use of theater space. It can be said that environmental theater is a performance method based on the use of theater space. Consciously designing and using the entire theater space is a modern theater movement, an ideal constantly explored by dramatists dedicated to innovation in the twentieth century. Different from film and television, drama is the direct interaction between the subjects and is an activity jointly participated by the actors and the audience. The so-called theater is nothing more than a venue for theater activities, or actors interact with the audience is the venue for their participation in the game. The essence of the theater lies in the spatial relationship between the actors and the audience, which restricts the way the actors and the audience participate. For different performances, the audience involved