巴特认为,核心与催化是构成行动的基本内容。相对而言,核心数量不多,但是故事的真正铰链。催化是行动的具体形式,比如,罗密欧追求朱丽叶,构成主体和对象关系,故事的核心行动得以建构,但是,罗密欧如何追求朱丽叶,则属于催化的范围。从这个意义上来说,核心决定故事的方向,催化则是故事的血肉,充满着核心之间留下的巨大叙事空间。辅助性情境,就是影响和推动辅助性行动发生的关系、环境和情况。本文在叙事学理论的基础上提出辅助性情境这个概念,并通过对中外经典戏剧的分析来阐述辅助性情境与核心情境的关系,辅助性情境在叙事中的功能及其种类,诸如核心情境关系的扩展、真假关系、环境的机缘、人物的处境等等。本文认为,基于叙事学的戏剧情境理论既是一种戏剧创作理论,更是一种研究方法论。 Bart believes that core and catalysis constitute the basic content of action. Relatively speaking, the core number is small, but the real hinge of the story. For example, Romeo pursues Juliet, constitutes the relationship between the subject and the object, and the core of the story can be constructed. However, how Romeo pursues Juliet belongs to the catalytic scope. In this sense, the core decides the direction of the story and the catalysis is the flesh and blood of the story, filling the huge narrative space left behind by the core. Ancillary situations are the relationships, circumstances and circumstances that influence and facilitate ancillary actions. Based on the theory of narratology, this paper proposes the concept of auxiliary situation and analyzes the relationship between auxiliary situation and core situation through the analysis of Chinese and foreign classic plays. The functions and types of auxiliary situations in narration, such as the relationship between core situations The expansion of the relationship between true and false, environmental opportunities, the situation of the characters and so on. This article argues that the drama situation theory based on narratology is not only a kind of drama creation theory, but also a research methodology.