近十年来出现了不少创新戏剧,其中有好作品,也有的还停留在“寓言”的品格上,满台概念化的象征物;另有些形式上更新了,但编剧意识还极为陈旧。形式与内容的脱节是当前创新戏剧的严重问题。但是,如果不过多地挑剔这些新作的弱点,人们会发现其中大半对中国戏剧事业做出了自己的贡献。《一个死者对生者的访问》运用近乎鬼怪梦幻的手法,沟通了生死两界,直接剖视了当代人在人生价值问题上的深层心理真实。这些东西在过去的戏剧作品中往往只能通过“内心独白”的手法表现出来,不仅编剧吃力,导演、演员也极不易见好。这种通过“传达手段”(即形式)的革新,把“内心独白”变成人物与人物直接交流的作法,无疑会更有“戏”。这个“戏”不再是通过外部动作折射心象,而是直接把“心象”外化为“形象”的“动作”,这不能不说是一个成功的创造。《一个死者 In the past ten years there have been many innovative plays, of which there are good works, while others are still stuck in the character of “allegory” and full of conceptual symbols. Some are even more formally updated, but the writer’s awareness is still extremely old. The disconnection between form and content is a serious problem of current innovative drama. However, without too much criticizing the weaknesses of these new works, people will find that most of them make their own contribution to the cause of Chinese drama. The “Visit of a Dead to Survivors” uses the almost ghostly fantasy approach to communicate the two circles of life and death and directly examines the deep psychological realities of contemporary people on the issue of the value of life. These things in the past, often in the dramatic works only through the “monologue” approach, not only hardcore screenwriter, director, actor is also very easy to see good. This kind of “communication” (ie form) innovation, the “inner monologue” into a direct exchange of characters and characters practice, will undoubtedly be more “opera.” This “play” is no longer a refraction of the heart by external actions, but the direct “outward appearance of the heart” as an “action” of the “image”, which can not but be regarded as a successful creation. "A dead person