先锋戏剧总是被视为后戏剧社会的先导,那个破碎、疏离的社会批判一切创造可共享意义的努力。有些戏剧,连续的行动之间没有叙事,它反映出这样一种社会世界,其中最具争议的事件已经不再表现为戏剧,而仅仅成为景观——这是一个观众不带任何感情或联系去观看的世界。由于只说对了一半,这些有关后戏剧和社会的观点从根本上是错误的。随着现代社会的扩张和分化,剧场和社会中构成表演的元素开始变得分崩离析,如果它们能被重新聚合,表演就会被视为真实可信并充满意义的;倘若再融合不能实现,表演就不能传达意义。本文的主旨是要说明,一种谋求将支离破碎的表演元素再融合起来的抱负构成了先锋戏剧在过去两个世纪的最重要特征;大部分先锋戏剧的创新都企图使现场戏剧向神话和仪式目标重新开放。无论在剧场还是生活中,世界都不会超越戏剧性——在一个超越宇宙论宗教的世界里,它是寻找意义的基础。 Pioneer theater is always regarded as the forerunner of the post-theater society, and the broken, alienated society criticizes all efforts to create shared meaning. Some plays, there is no narrative between successive actions, it reflects a social world in which the most controversial events no longer appear as drama, but merely as landscapes - an audience without any feelings or connections Watch the world. With only half-truths, these views on drama and society are fundamentally wrong. With the expansion and differentiation of modern society, the elements that make up the theater in theaters and in society begin to become disintegrated, and if they can be re-aggregated, the performances will be considered authentic and meaningful; if the reintegration fails, the performance Can not convey meaning. The thrust of this article is to illustrate that an aspiration to reintegrate fragmented performance elements constitutes the most important trait of avant-garde plays in the past two centuries; most avant-garde theater innovations are attempting to bring live theatrical to myths and ceremonial goals Reopen. The world does not go beyond dramatic in both theater and life - it is the basis for finding meaning in a world that transcends cosmological religion.