艺术理论和艺术创作,原本如车之两轮,鸟之双翼,然而,不知从什么时候开始,理论与创作彼此分离,各行其是。难道作家、艺术家就无需具有深厚的理论功底?理论家、评论家就不能进入创作的神秘王国?这一直是人们试图解答的问题。2009年,一位原本属于戏剧理论界的人士,却以剧作家的身份引人关注,他就是童道明先生。在花费数十年的时间进行理论准备之后,他自觉地进入创作状态,以剧本《塞纳河少女的面模》,给戏剧文学送来一脉清凉,接着,他的剧本 Art theory and artistic creation, originally two rounds of vehicles, two wings of birds, however, I do not know since when the theory and creation separate from each other. Is it not necessary for writers and artists to have a profound theoretical foundation? Can theorists and critics not enter the mysterious kingdom of creation? This has always been the problem that people try to answer. In 2009, a person who originally belonged to theatrical theorists had drawn his attention as a playwright. He was Mr Tong Daoming. After spending tens of years preparing for his theory, he consciously entered the state of creation, giving the play literature a cool touch with the play “The Mask of the Seine River Girl.” Then his script