本文聚焦于新时期前期的一组话剧,这些话剧都因为其形式主义的特征而为人所知。评论家们声称这些戏剧正是因为其具有革新意义的形式特征而获得了人们的认可。但是,我们在许多例子中都可以清晰看到,这些所谓的美学面相之所以能存活下来,或者变得富有文化意味,恰恰是因为它们同时又总是事关个体与政治的。这表明,当代中国戏剧中的 This article focuses on a group of plays in the early stages of the new era, all of which are known for their formalistic character. Critics claim that these plays are gaining recognition precisely because of their innovative formal features. However, we can clearly see from many examples that these so-called aesthetics can survive or become culturally rich precisely because they are always related to the individual and the political at the same time. This shows that contemporary Chinese drama