活跃在话剧舞台的女导演极少,而有鲜明的艺术风格的更是凤毛麟角,田沁鑫却是其中之一,或许可称“唯一”——当然本文并不是要做女性主义的研究,但田沁鑫的艺术表达与处理同题材的男性导演相比确实更具特色。这一点在田沁鑫版《赵氏孤儿》与林兆华版《赵氏孤儿》截然不同的主题表达和审美诉求上可见一斑。相似的情形出现在近两年来田沁鑫的其他改编作品,虽然有不同艺术形式本身具有的不同美学特质这一点,但《青蛇》《罗密欧与朱丽 There are very few female directors who are active in the arena of drama, and there are few distinctive artistic styles. Tian Qinxin is one of them, perhaps called “the only one.” Of course, this article is not intended to be a feminist study, Tian Qinxin’s artistic expression and handling is indeed more characteristic than the male director of the subject matter. This is evident in the completely different theme expression and aesthetic appeal of Tian Qin Xin’s edition of “Orphan” and Lin Zhaohua’s “Orphan of Zhao.” A similar situation appeared in other adaptations of Tian Qinxin in the past two years. Although there are different aesthetic characteristics of different art forms themselves, “Green Snake”, "Romeo and Julie