每一位当代中国剧作家在他对中国艺术发展有所了解之后,都会感到自己正处在一个尴尬的境地里。戏剧创作中的传统意识和对过去时光的美好回忆为剧作家的新鲜感觉和观众的欣赏心理所不容;单一的政治批判与纯粹的社会功利又为剧作家们所意识到的科学艺术观所排斥,而将艺术创作的社会价值、审美价值和其不得不承担的经济价值完全分离又非最佳的解决方法;现实的一切使剧作家深深感到困惑。然而,细想起来,这种困惑并不象拉·封 Every contemporary Chinese dramatist feels herself in an awkward position after he understands the development of Chinese art. The traditional consciousness in drama creation and the beautiful memory of the past time are not only for the freshness of the playwright and for the appreciation of the audience, but also for the political art criticism and the pure social utility, , While the social value of art creation, aesthetic value and the economic value it has to bear completely separate and not the best solution; the reality of the playwright deeply confused. However, in retrospect, this confusion is not like Lafayette