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连续两年,北京春夏之交的话剧舞台因为中国原创话剧邀请展而变得热闹非凡,80台大小剧场剧目,不仅集中反映了近些年全国各地话剧院团、演出团体的创作成绩,也把中国原创话剧的艺术状貌、阶段特色、美学水准以及发展短板毫无保留地呈现在了我们面前。然而,与展演庞大的演出体量和数量相比,笔者更为关心的还是创作本身的话题、创作遭遇的困境,即这些原创作品究竟在何种程度上完成了对于本土话剧体系的审美建构,
For two consecutive years, Beijing’s drama stage at the turn of spring and summer has become crowded with the invitation to show at the original Chinese drama. The 80-seat theater repertoire has not only focused on the achievements of the theater troupes and performance groups in various parts of the country in recent years, Present the artistic appearance, stage characteristics, aesthetic standards and development shortcomings of the original Chinese drama in front of us without reservation. However, compared with the huge quantity and quantity of performances, the author is still more concerned about the creative topic and the dilemma of creation. To what extent has these original works completed the aesthetic construction of the local drama system,