中国社会开始转型以来,戏剧舞台也随此发生种种的阵痛,其中一个重要的现象,就是出现大量经典名著的被拆解和重构。这种解构行为,它的颠覆传统和蔑视常规的前卫状态,其实,都包含着深刻的意味,从整体意义而言,它乃是当代人文艺术领域权威话语虚根、各种观念竞相争夺表达权的生动文本表现。自20世纪以来,人文科学最大的问题,是规范性命题日益丧失统摄一切的说服力。定论在时间面前丧失了它的永恒性,规范和确立规范的权威也成了被怀疑的对象,从前关于艺术的法则现在似乎都变得值得疑问了。这种景象固然不免让人有些沮丧,有些茫然,但同时或许也极大刺激和诱惑了人们 Since the beginning of the transformation of Chinese society, various stages of pain have taken place in the theater. One of the most important phenomena has been the dismantling and reconstruction of a large number of classics. In fact, this kind of deconstruction, its subversive tradition and its disdain for conventional avant-garde states all contain profound meanings. In terms of the whole, it is the imaginary root of the authority words in the field of contemporary humanities and arts, and all kinds of ideas compete for expression rights Vivid text performance. Since the 20th century, the biggest problem in the humanities is the ever-losing conviction of the normative proposition. The conclusion lacks its eternity before time, and the authority to regulate and establish norms has also become the object of suspicion. All the laws on art now seem to have become questionable. This scene can not help but make people a bit frustrated, some loss, but at the same time may also greatly stimulate and seduce people