或许九十年代最令人瞩目的戏剧文化现象之一便是趋世俗热。这无疑是意识形态国家机器的运作与特定的公共空间之初现时当代戏剧渴望制造热点而寻找的新轶序。换言之,这是别一个有趣的多重话语的共用空间下制造的世俗神话。从某种意义上言,戏剧生产指向于两极;消费与审美。它一方面直接介入于人们的日常生活,反映现实生活并同时供人作 Perhaps one of the most dramatic theater and cultural phenomena of the nineties was secularism. This is undoubtedly the search for new avant-garde to be sought after by the contemporary drama in the early days of the ideological state machine and the beginning of a particular public space. In other words, this is a secular myth created under the shared space of another interesting multi-discourse. In a sense, drama production points to the poles; consumption and aesthetic. On the one hand, it is directly involved in people’s daily life, reflecting the real life and at the same time providing for others