作为20世纪上半期的先锋派戏剧理论,阿尔托的残酷戏剧是对以“再现”为指归的现实主义戏剧的反叛,具有鲜明的美学现代性诉求。20世纪下半期,德里达和波德里亚在阿尔托残酷戏剧里读出了一个重要的认识论命题,即语言/符号与真实的关系问题,并在一定程度上借助对残酷戏剧的想象建构了各自的后现代理论。他们的残酷戏剧阅读彼此之间存在着历史关联,并与后现代文化的历史轨迹相吻合,从中可以看出后现代文化与美学现代性之间的联通、对立与双螺旋式的轮替。 As the avant-garde theory of drama in the first half of the 20th century, Aalto’s brutal drama is a rebellion against the realism drafted by the “Reproduction” and has a clear appealing of aesthetic modernity. In the second half of the 20th century, Derrida and Baudrillard read an important epistemological proposition in the cruel drama of Alto, that is, the relationship between language / sign and reality, and to some extent constructed their own Postmodern theory. Their cruel theater readings are historically associated with each other and with the historical trajectory of postmodern culture, from which it can be seen that the postmodern culture is interlinked with the modernity of aesthetics, and that the double helix alternates.