20世纪,东方各国纷纷抛弃自己的传统戏剧模式,开始不遗余力地移植西方戏剧;而在同时,西方有成就、有影响的戏剧艺术家们却开始乐此不疲地“走向东方”——叶芝、阿尔托、彼得·布鲁克、布莱希特、格洛托夫斯基以及尤金尼奥·巴尔巴……这又引得站在传统废墟上的东方人循着西方的目光产生了民族自豪感,开始提倡保存和挖掘自己的传统。东方——西方——东方……东方人目光游移不定,陷入狗熊掰玉米式的窘境。虽然戈登·克雷在本世纪初就说过:“我们西方的剧场早已倒下了,东方仍以自己的剧场而自豪”,虽然阿尔托也坚定不移地认为西方剧场只是东方剧场的影子,可是实 In the 20th century, all the countries of the East abandoned their own traditional modes of drama and started to spare no effort in transplanting Western drama. At the same time, western influential dramatic artists began to bored themselves “eastward” - Yeats, Aalto, Peter Brooke, Brecht, Grottovsky, and Eugenio Barba ... This, in turn, led to the traditional pride of Asians following the Western gaze, generating national pride and beginning to promote conservation And tap your own tradition. Oriental - Western - Oriental ... Oriental people wandering uncertain, into a bear-and-bear corn-style dilemma. Although Gordon Clay said at the beginning of this century: “Our western theater has long fallen, and the East is still proud of its own theater.” Although Alto also firmly believes that Western theater is only the shadow of Oriental Theater But real