自从“戏剧危机”被有识之士提出后,戏剧编导们便走上了一条自救的创新之路。在创新的路上,编导们总像要扑摸一个巨大的目标而行色匆匆。匆忙赶路中,现实主义、现代主义、后现代主义被信手拈来,又一掠而过。更多的时候,编导们被“创新”本身所吸引,而遗落了许多许多。在探索戏剧走过了近二十年的探索路程的时候,我们应该在此驻足,回首创新的路上被我们所遗忘的。一、关于观众。“没有伟大的观众便没有 Since the “drama crisis” was raised by people of insight, theater directors have embarked on a path of self-help and innovation. On the road to innovation, the editors are always on the lookout for a huge goal. In a hurried way, realism, modernism and post-modernism are brought to light and swept past. More often, editors are attracted to “innovation” itself, leaving many, many. We should stop here and explore what we have forgotten on the trail of innovation as we explore the theater for nearly two decades of exploration. First, on the audience. "There is no great audience