本文以袁牧之独特的演出理想为问题的起点,结合其戏剧创作与演出实践,讨论这一理想之于演员本人主体性的意义,然后在历史语境中,对其演出实践的文化政治含义提出思考。本文认为,袁牧之的剧作,在文本肌理层面投射了其戏剧实践与生活状态的征候,透露了后二者间的互文性。而艺术与现实互文关系过于紧密,却又造成了“表演”的危机。对于二三十年代的小资产阶级青年而言,这种危机,意味着新的历史可能性的酝酿。 This article takes Yuan Muzhi’s unique performance ideal as the starting point of the issue, discusses the significance of this ideal to the actor’s subjectivity in combination with her dramatic creation and performance practice, and then puts forward the cultural and political implications of her performance practice in historical context Thinking. This paper argues that Yuan Muzhi’s plays cast a sign of his dramatic life and practice in terms of textural level, revealing the intertextuality of the latter two. The intertextual relationship between art and reality is too close, but it also creates a crisis of “performance”. For petty-bourgeois youth in the 1920s and 1930s, this crisis means the brewing of a new historical possibility.