如果我们认真梳理一下新时期以来传统戏剧艺术的行程,便不难发现,那曾有过的菊坛繁盛景象,更多地是由戏剧文学文本所掣动的。而舞台表现方式(二度创作)尽管也勉力应和着戏剧文学文本,但其传递方式显然缺乏一种自觉性,常常是被戏剧文学带着走的。这种状况是由多方面原因构成的,但究其根本, If we conscientiously sort out the traditional theater art journey since the new era, we can easily find out that the once flourishing scene of the daisy altar is more or less triggered by dramatic literary texts. However, the performance of the stage (second-degree creation), though it also tries to keep up with the dramatic literary texts, clearly lacks a sense of self-consciousness and is often taken up by drama literature. This situation is constituted by many reasons, but its fundamental,