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综观八十年代中国话剧理论的发展过程,其中最有影响的两大流派是探索戏剧派与传统戏剧派。这两派有着几乎完全对立的理论主张,它们往往互相指责激烈争论成为八十年代中国戏剧理论界最为引人注目的现象。探索派认为中国传统话剧的弊端在于通过镜框式的舞台来制造生活幻觉(俗称所谓“第四堵墙”),使观众只是被动地接受,只是“偷看”别人的生活,而与作者和演员没有思想交流;传统话剧以叙事和塑造人物为中心,结果表现力微弱,甚至觉得“三一律”是最好的形式,远不及文学和电影那样自由地叙述;由于以对话为主要手段,传统话剧剧场效果很差,
Looking at the development of Chinese drama theory in the 1980s, two of the most influential schools are the Drama School and the Traditional Drama School. These two schools have nearly completely antithetical theoretical ideas. They often accuse each other of intense arguments as the most striking phenomenon in the Chinese theater theorists in the 1980s. The exploratory school believes that the drawback of traditional Chinese drama lies in the illusion of creating the illusion of life (commonly known as the “fourth wall”) through the stage of a mirror-frame so that the audience can only passively accept it and only “peek into” other people’s lives, There is no exchange of ideas. Traditional drama focuses on narration and portrayal of characters. As a result, the performance of the drama is weak and even the “three laws” are the best forms and far less freely narrated than literature and movies. Since dialogue is the main method, Drama theater is poor,