从亚里士多德时代直至20世纪初期,情节,即舞台上演出事件的组织一直被认为是戏剧的支柱。但在过去的半个世纪里,戏剧情节的重要性已在后现代及其他反现实主义剧作家的手中被系统地蚕食或改变了,出现了一批有影响的剧作,把情节或边缘化,或置换掉,或戏仿掉。最近,几个实验派作家更是对情节的概念进行了更为激进和颠覆性的处理,不仅导致对情节这一概念的意义进行重新评价,而且也对其性质与功能进行了质疑。本文以具体文本为例,探讨了三种特别复杂有趣的情节安排。 From the Aristotelian era until the early 20th century, plotting, the organization of events on stage, has long been considered the backbone of drama. But for the past half century, the importance of drama has been systematically eroded or changed in the hands of postmodernist and other anti-realist dramatists. A series of influential dramas have emerged, plotting or marginalizing , Or replace it, or parody off. More recently, several experimentalist writers conducted even more radical and subversive treatment of the notion of plot, which not only led to a reevaluation of the significance of the concept of plot, but also questioned its nature and function. Taking concrete texts as an example, this article explores three particularly complicated and interesting episodes.