九十年代以来,中国的经济和文化受到改革开放的影响,大量“外来元素”涌入国门,使得小剧场话剧也得以飞速的发展,剧场在数量和质量上都有了大幅度的提升。与此同时也涌现出了一批有着新进思想的优秀的演出剧目和导演,而张广天和他的“理想主义三部曲”也在其中之列。于“三部曲”中最为现象级,产生了近乎“戏剧事件”的作品便是《切格瓦拉》了。此剧久演不衰,剧场效果极好,这是继孟京辉的《恋爱的犀牛》之后,中国小剧场话剧再次出现的对于一个剧目的观剧高峰。为中国小剧场话剧的发展做出了巨大的贡献。时隔十几年后的今天,回望这段戏剧文化突变的历史,我们从艺术创作的角度来评判,从历史发展的角度来分析此剧后会发现,《切格瓦拉》的出现和轰动即存在着观演关系中思想对接的偶然性,也存在着时代发展推动下的必然性。 Since the 1990s, China’s economy and culture have been affected by the reform and opening up. A large number of “foreign elements” have flooded the country, resulting in the rapid development of mini-theater plays. The number and quality of theaters have risen dramatically . At the same time, a number of excellent repertoire and directors with new ideas emerged as well as Zhang Guangtian and his “Idealist Trilogy”. In the “Trilogy” the most phenomenal level, produced almost “drama event” is “Che Guevara”. The play is not bad, the theater works very well, which is following Meng Jinghui’s “Rhinos in Love”, the Chinese theater reappears for the drama of a drama peak. For the development of China’s small theater drama has made a tremendous contribution. After a lapse of ten years from now, looking back on the history of this cultural and cultural mutation, we judge it from the angle of artistic creation. Analyzing this drama from the perspective of historical development, we can find that the emergence and sensation of “Che Guevara” The coincidence of ideas in the relationship between the actors and actresses, but also the inevitability of promoting the development of the times.