“新剧革命”是继晚清“戏曲改良”之后,中国戏剧界的又一次重大变革。“戏曲改良”的浪潮改变了封建传统对于戏曲的陈腐偏见,更使诸多有识之士在中西戏剧的对比中,体味到西方话剧巨大的社会效能和独特的艺术魅力,遂把目光转向西方剧坛取精用宏。早在1904年,健鹤在论述戏曲改良时就曾指出:中国戏剧应该趋向世界“演剧之大同,在不用歌曲而专用科白”,以“痛论时局,警醒国民”,“唤起民族主义之暗潮”。果然,在辛 “Revolution in New Drama” is another major revolution in Chinese drama after the “drama improvement” in the late Qing Dynasty. The tide of “drama improvement” has changed the stereotyped prejudices of the feudal tradition on the drama and made many people of insight appreciate the enormous social effects and unique artistic charm of western drama in the comparison of Chinese and western drama, and turned their attention to western drama Altar fine with macro. As early as 1904, when Jian He talked about the improvement of opera, he pointed out: “Chinese drama should go to the world” in a similar way, without using songs, but in a special way, “to” painstakingly understand the current situation and alert nationals “and” to arouse nationalism The tide of the ". Sure enough, in Xin