西方现代主义文艺运动中的一个重要流派——荒诞派戏剧,曾给西方传统的戏剧观念和戏剧创作以强有力的冲击,它给西方剧坛带来的强大冲击波至今还不能说已经烟消云散。但作为一种戏剧流派或思潮,荒诞派戏剧在本世纪六十年代达到顶峰之后,其耀眼的、令人眩惑的光彩已开始渐渐暗淡和消隐。荒诞派戏剧在五十年代末——六十年代初出现于法国,它的主要力量也主要聚集在法国,诸如尤奈斯库、贝克特、阿达莫夫、日奈等荒诞派戏剧作家,皆是首先在法国舞台上展露风姿的。那么在荒诞派戏剧之后,法国戏剧又有哪些改观,出现了怎样的倾向,面临着什么样的问题呢?这里我仅就这 An important genre in the Western modernist literary movement, the absurd drama, has given a powerful impact to the traditional western theater concepts and dramatic creations. The powerful shock wave it has brought to Western theater can not yet be said to have vanished. However, as a genre of theater or trend of thought, the dazzling, dazzling splendor of the absurd drama culminated in the 1960s has begun to dim and disappear. The absurd plays, appearing in France in the late fifties and early 1960s, also dominated in France, where absurd theater writers such as Younescu, Beckett, Adamov, and Chennai Is the first to show grace on the French stage. So, after the absurdist drama, what are the changes of French drama, what kind of tendency appeared and what kind of problems were faced?