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随着话剧艺术语言探索的深入发展,需要实验者对生活的开掘和认识上升到一个更高层次,把握各种形式背后潜藏的更深层的哲学和美学的意义。形式的新只是实验目的之一,不能当成最终的、全部的目的去追求,否则形式损害内容的问题仍然不能解决,哲理性将流于空泛的宣传,新形式也只是徒有其表。戏剧运动并不只是戏剧规律的内在运动,它从一个方面代表了与自己紧密相连的整个社会意识形态的变化的重大意义,它以自己的方式参与了对整个旧的意识形态格局的改造,因此实验戏剧不能仅仅着眼于戏剧的表现手段方法。
With the deepening development of exploration of the language of drama art, it is necessary for the experimenter to dig up and understand life to a higher level and grasp the deeper philosophical and aesthetic significance hidden behind various forms. Form new is only one of the experimental purposes, not as a final, all purpose to pursue, or the form of damage to the content of the problem still can not be resolved, philosophical will flow to vague propaganda, the new form is only a temporary manifestation. The dramatic movement is not merely an inherent movement of the law of drama. It represents, on the one hand, the great significance of the change in the entire social ideology closely connected with itself and in its own way it is involved in the transformation of the entire old ideological pattern. Therefore Experimental theater can not focus solely on the means of dramatic performance.