戏剧理论常有这样的命题: 戏剧是剧场的艺术。戏剧的生命在于演出。戏剧是由创作主体和接受主体共同构成的。显而易见,这些命题都在强调一个名字——观众。那么,我们描述或评价话剧十年时,除了引进剧作家和表演这两个因素之外,显然还有必要引进观众的因素。否则就是不准确的。大概谁也不会忘记,当年话剧《于无声处》演遍 Drama theory often has such a proposition: theater is the art of the theater. Drama’s life is performance. Drama is composed of the creative subject and the accepted subject. Obviously, these propositions emphasize a name - the audience. Well, when we describe or evaluate the ten years of drama, in addition to the introduction of the playwright and the performance of these two factors, it is clear that there is still a need to introduce audience factors. Otherwise it is not accurate. Probably no one will forget, when the play “in the silent office” over