作为融多种艺术形式为一体的戏剧,其内部结构各层次之间,往往呈现一种“剪不断,理还乱”的关系.因此,在戏剧家手里,这个完整的结构系统常常出现突出一个层次,疏淡其他层次的跛足状态.这样,从理论与实践两个方面不断理顺戏剧的内部关系,仍是戏剧界面临的一个重要课题.一当戏剧在古希腊文明的摇篮里,从舞蹈分化出来后,一段时间,表演占据中心地位,演员成了不纳税的特殊公民.但后来,文学家干预了戏剧,而且愈发显示出这种介入的强劲势头,最终将剧作家推到了戏剧的主宰地位.于是,戏剧在习惯上被称为一种语言的艺术.从这一命题出发,人们很容易做出这样的判断,剧作是演出成功的基础。这里的逻辑出发点与关键项是作为文学的剧本,演出的成功被视为可能实现的结果.然而,经历了多少年来的实践与争执,越来越多的戏剧家 As a kind of drama, the drama of “integration of many forms of art” always presents a kind of “interminable, chaotic” relationship at all levels of its internal structure. Therefore, in the hands of dramatists, this complete structural system often appears prominent One level and another level of lameness so as to improve the internal relations of the drama from two aspects of theory and practice is still an important issue facing the theater.Once the theater in the cradle of ancient Greek civilization, After the dance divides, for a period of time, the performance takes center stage and the actor becomes a special citizen who does not pay tax, but later the writer intervened in the drama and became more and more demonstrating the strong momentum of such intervention and finally pushed the dramatist Drama dominance.Therefore, the drama is customarily called a language art from this proposition, it is easy to make such a judgment, drama is the basis for the success of the show. Here the logical starting point and the key items are as literary scripts, the success of the show is regarded as a possible result.However, after many years of practice and dispute, more and more dramatists