中国文艺学自20世纪初形成之后经历了三次理论大转换。理论的转变必影响其指导下的实践,莎士比亚在中国话剧舞台上亦呈现出不同的形态。救亡图存的社会现实面前,古典文艺学转向现代形态文艺学,文艺审美性从属于社会性,莎士比亚被借用为宣传革命、激励国民的文化工具。中国化马克思主义文艺理论转向下,为铸就文化壁垒,防止西方意识侵袭,整个莎剧舞台出现了政治统一指令下斯氏体系独霸的局面,文艺本体的独立性丧失。现代、后现代文艺学转向下的莎剧演出呈现出开放性、审美性和多样性特点,同时存在着“求新求奇”的过分追求,使得莎剧演出流于形式,或成为个人情感宣泄的工具,极不利于莎氏经典的传承。以史为鉴,继往开来,促进精神文明建设是宗旨。 Chinese literary studies have undergone three major theoretical changes since their formation in the early 20th century. The change of theory will affect the practice under its guidance. Shakespeare also shows different forms on the stage of Chinese drama. In the face of the social reality of saving the nation from salvation, the classical literature and art turned to the modern form of literature and art, the aesthetics of literature and art was subordinate to the sociality, and Shakespeare was borrowed as a cultural tool to promote the revolution and encourage the people. Under the guidance of Chinese Marxist theory of literature and art, as a result of casting cultural barriers and preventing the invasion of Western consciousness, the entire Shakespeare scene emerged under the monopoly of the Smithian system under the command of the political unity and the independence of the arts and literature was lost. Modern and postmodernist literature and art turned under the performance of Shakespearean operas, aesthetics and diversity, while there is “pursuit of novelty, ” the excessive pursuit of Shakespeare performed in a mere formality, or become an individual Emotional catharsis tools, very detrimental to the heritage of Shakespeare. Learn from history, the future, to promote the building of spiritual civilization is the purpose.