一一批在“危机”声中出现在舞台上的“实验戏剧”,以独特的面貌和风姿造成了革新的声势;一批导演艺术家富有新意的舞台二度创造,使话剧演出摆脱了写实模式一花独放的局面。这标志着话剧导演美学观念的变革进入了一个新的时期。相比之下,话剧表演的美学观念解放的步子迈得还不大。它象个“小脚女人”,被各种新戏剧观念、新舞台艺术创作裹挟着,拉扯着,不情愿地向前挪动着,显得那么扭捏,那么沉重,那么的不自在。一向被视为话剧表演美学理论“正宗”的斯氏体系虽然受到 A group of “experimental plays” appearing on the stage in the “crisis” sound created an innovative momentum with a unique look and grace; a new stage in the creation of a director’s artist created the theater twice so as to get rid of the realistic model A flower alone situation. This marks the transformation of drama directors aesthetic concept has entered a new period. In contrast, the aesthetics of drama performance emancipates the pace of step is not big. It is like a “little woman”, is a variety of new concepts of drama, new stage art creation coercion, pulled, reluctantly move forward, it seems so tweaked, so heavy, so uncomfortable. The Smithian system, which has long been regarded as “authentic” in theatrical theory of aesthetics, is received