国内戏剧界对戏剧符号学并不陌生,但它的新异和谨严似乎一向给人某种实证刻板、诘屈聱牙的印象,而北京人艺演剧学派的精髓恰是气韵生动、蕴藉内敛的东方美学的现代呈现,这两者的联手与对望,勾连与互证,其间的沟壑和跨度自然可以想见。《困守与新生——1978-2012北京人艺演剧艺术》却进行了这样一次探险式的嫁接,它是青年戏剧学者徐健在2010年完成的博士学位论文基础上修订补充而成的一部书稿。由于作者求学期间曾挂职于北京人民艺术剧院创作室,更兼其后转向媒体戏剧记者的经历,使他对所做课 The domestic drama community is no stranger to the semiology of drama, but its newness and cautiousness always seem to give some impression of stereotypes and vainglips. The essence of the Peking opera art school is precisely the vivid charm and introverted The modern presentation of oriental aesthetics, the combination and expectation of the two, collusion and mutual evidence, during which the gully and the span can naturally be imagined. The Book of Prey and Renaissance - Beijing 1978 Art of Human Performing Arts conducted an exploration-like grafting, which is a manuscript revised and supplemented by Xu Xian, a young theater theorist, who completed his doctoral dissertation in 2010 . As the author studied during his time in the Beijing People’s Art Theater studio, and later turned to the media drama reporter’s experience, so that he did the lessons