审美戏剧的提出,是戏剧界已然开始的变革的必然产物。在既往的话剧十年艰辛探索中,人们分别在戏剧的目的与意义、手段与形式两个方面开辟着自身的解放之路,发展到今天,无论是理论的回答,亦或是创作实践,均把审美提到了议事日程上来。囿于篇幅,这里只能就最紧要的问题,略谈一二。一审美戏剧宏扬艺术要以人自身为目的。关于这点,马克思对于“为生产而生产”的思想,可以为我们提供必要的启示。他说:“李嘉图‘要求为生产而生产’,这是正确的。如果象李嘉图的感伤主义的反对者们那样,断言生产不是目的本身,那就是忘却了,为生产而生产不过是意味着发展人类的生产力,也就是发展 The proposition of aesthetic drama is the inevitable result of the revolution already begun by the theater industry. In the ten-year arduous exploration of the previous drama, people opened up their own path of liberation from two aspects: the purpose, the meaning, the means and the form of the drama respectively. Both today and today, both the theoretical answer and the creative practice Aesthetic referred to the agenda.囿 in length, here only on the most important issues, a little talk about one or two. The first trial of the United States plays to promote art to people as their goal. In this connection, Marx’s thought of “producing for production” can provide us with necessary enlightenment. He said: “Ricardo’s claim to produce for production is correct.” If, as Ricardo’s sentimental opponents assert, production is not an end in itself, it is oblivious to the fact that production for production merely means development Human productivity, that is, development