瑞士戏剧家迪伦马特1954年发表题为《戏剧问题》的演说时,不无幽默地谈到了当时文坛的一种求“纯”的时尚:“从最近的实践看,艺术中有一股追求‘纯’的倾向引人注目。人们致力于追求‘纯’的诗……‘纯’的戏剧。……但是,在这个通常不是以纯为特征的时代里,每个人都觉得自己找到了与众不同的、唯一正确的‘纯’,说具体点即找到了那么多的艺术处女,那么多种贞洁的艺术。”迪伦马特不赞成这类刻意求“纯”的文艺理论。到了八十年代初,当中国文艺界的理论思维活跃起来之后,这求“纯”之风也刮了一阵子。其中以电影界为最烈。为了寻找出“电影本性”,连“扔掉戏剧拐棍”,“和戏剧离婚”一类的口号也喊了出来。但排除了戏剧因素的“纯”电影实际上是不可思议的,甚至可以 When the Swiss dramatist Dylan Matt published a speech entitled “Drama Issues” in 1954, he said humorously about the “pure” fashion of the literary world at that time: “From the recent practice, there is a quest for art The ’pure’ tendencies attract attention, and people are dedicated to the pursuit of ’pure’ poetry ... ’pure’ play .... But in this often non-purely characteristic era, everyone feels they have found one Different, the only correct ’pure’, that the specific point that has found so many artistic virgins, so a variety of chaste art. ”Di Lun Matt disapproved of such deliberately seeking“ pure ”literary theory. By the early 1980s, when the theoretical thinking of Chinese literary and art circles became active, the pursuit of “pure” style also shaved for a while. Among them, the movie industry is the most intense. In an attempt to find out “film nature,” slogans such as “throwing away drama sticks” and “drama divorce” were also shouted out. But “pure” movies that exclude the elements of drama are actually incredible and can even be