舞美设计由西方纯写实主义(以话剧为代表)的硬性的填鸭式的塞给观众与我国写意主义(以戏曲为代表)的形神兼备、写意传神到近年来的现代主义(象征主义、抽象主义、中性化等,以实验剧目与探索剧目为代表),经历了一个想像空间由无到有、由小到大的发展变化过程。一切艺术都要与时俱进,也都在与时俱进。21世纪,想像空间的最大拓展,已成为舞美设计的新概念。现代主义以此为宗旨自不待言,就是纯写实主义与写意主义,也以此为艺术追求的最佳目标。为此,有必要对此予以论述,这无论是在舞美设计理论上还是实践上,都将有重要意义。一、想像空间的必要性从近年来兴起的艺术发生学、艺术人类学、接 The design of the festival is composed of the rigid cramming stuffed by western pure realism (represented by the drama) and the ecstasy of the Chinese freehand (represented by the opera), the freehand expression of modernism (symbolism, abstraction Doctrine, neutralization, etc., represented by experimental repertoire and exploration of repertory), has undergone a process of development and change of an imaginary space from nothing to as little as possible. All art must advance with the times and also keep pace with the times. The 21st century, the largest expansion of imagination, has become a new concept of the design of the stage. Taking this as its objective, modernism goes without saying that it is purely realistic and freehand writing, and it is also the best goal pursued by the arts. For this reason, it is necessary to discuss it, which will be of great significance both in the theory and in the practice of design. I. The Necessity of Imagining Space Art emerge in recent years, art anthropology, then