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随着各种或新或旧的社会思潮渐次兴替,中国戏剧的理论与实践正面临一个空前混乱的时期。这样的混乱是否存在于所有文化领域且存而不论,至少是在艺术领域,它确实存在着而且正在对艺术的生存与发展产生着现实的影响。而在戏剧领域,尤其是本土戏剧领域,混乱的程度显然要甚于相关的其他领域。混乱最典型的表现形态,就是戏剧观念的驳杂程度,超过了历史上任何一个时期;戏剧界普遍弥漫着思想与观念上的迷茫气氛,觉得无所适从;诸多似是而非的陈旧观念,依然在对中国戏剧的生存与发展起着负面作用。我们不能想像中国所有戏剧创作与演出按照同一个模式进行,因此,戏剧表现样式的丰富多彩以及不同艺术观念的并存与互相
With the gradual emergence and change of various or new or old social thoughts, the theory and practice of Chinese drama are facing an unprecedented period of chaos. Whether such disorder exists in all cultural fields and whether it exists or not, at least in the field of art, does exist and is exerting a real influence on the survival and development of the arts. In the field of drama, especially in the field of local drama, the degree of disorder is clearly greater than in other related fields. The most typical manifestation of chaos is the degree of confusion of the concept of drama, exceeding any of the historical periods; the perplexed atmosphere of thought and concept is generally filled with the theater, and there are many paradoxical stereotypes, Survival and development play a negative role. We can not imagine that all Chinese drama creation and performance follow the same model. Therefore, the richness and variety of dramatic expression styles and the coexistence and mutual interdependence of different artistic concepts