近代中国的历史发展道路是不断地从封闭走向开放,而在开放的时代条件下产生的中国现代话剧,却常常在开放与封闭之间迂回。从1907年“春柳剧社”在日本排演《茶花女》开始,西方文化文学土壤上孕育出来的话剧,便闯进了千余年来一直以说唱念打为主要程式的中国戏剧王国。不过,由于时代情势和中国人长期积淀形成的文化心理结构和接受期待视界,以及中国人的善于肢解西方文化,话剧俊秀的面孔很快被涂成了不伦不类的小丑,至“文明戏”而告夭折。话剧在中国的真正兴起是在五四时期。众所周知,近代以来,华夏土地上不断发生的中西方文化的冲突与撞击至五四而达到高潮。在这 The path of historical development in modern China is constantly moving from closed to open. However, the modern Chinese drama produced under the conditions of an open era often roundabouts between opening and closing. From the beginning of 1907, “Chunliu Theater” rehearsed in Japan, “Camellia”, the Western culture and literature in the soil nurtured drama, broke into the more than a thousand years has been to talk rap read as the main program of the Chinese theater kingdom. However, because of the cultural and psychological structure formed in the era and the long-term accumulation of Chinese people and the horizon of expected expectations, as well as the Chinese being adept at dismemberment of Western culture, the handsome face of the drama was quickly painted as a clowns of all kinds, to the “civilized drama” Premature death. The real rise of drama in China was in the May 4th period. As we all know, in the modern era, the ongoing conflicts and clashes between Chinese and Western cultures in the land of Huaxia culminated in the May Fourth. At this