若干年来,人们对于“戏剧危机”的议论有增无已。就戏剧本身而言,其内部机能确已呈现衰老趋向,主要征象是:戏剧观念和理论已趋僵化,方法已显陈旧,手法相当单调,与这一切相联系,它的美学规范已呈老旧和模式化等等。但危机预伏着转机。人是有克服危机的巨大潜力的,那些具有艺术抱负的有识之士从困境中奋起,做出了超常的努力。第一个“新生儿”的哭叫好象是上海的《屋外有热流》(1977),这个戏从编导到演出都是出自一批业余的青年人之手,联系后来对戏剧艺术的革新具有更 Over the years, people’s discussion of the “drama crisis” has gone up. As far as the drama itself is concerned, the internal functions of it have indeed shown the tendency of aging. The main signs are as follows: dramatic concepts and theories have tended to be rigid, the methods are old and the methods are quite monotonous. In connection with all these, the aesthetic norms of the drama are old And so on and so on. But the crisis is pre-voluntarily turning point. People have enormous potential to overcome the crisis. Those who have the artistic aspirations have risen from their difficulties and made extraordinary efforts. The crying of the first “newborn” seemed to be Shanghai’s “Heat Flow Outside the House” (1977). From the directorial to the performance, the play was made by a group of amateur young people who later became more involved with the innovation of theatrical art