CAJ | 학술논문

当代戏剧的历史发展进程中发生过多场戏剧论争，反思从“戏剧观”争鸣到“三大戏剧体系”争论中阿尔托的中国遭遇，有助于廓清其在中国的接受和影响轨迹，并揭示出当代戏剧生态难以承载乃至漠视残酷戏剧的必然和悲哀。在某种意义上阿尔托是一杆标尺，中国对这位戏剧先知的接受程度有多深，一定程度上预示着中国戏剧的未来有多远。
당대희극적역사발전진정중발생과다장희극논쟁，반사종“희극관”쟁명도“삼대희극체계”쟁론중아이탁적중국조우，유조우곽청기재중국적접수화영향궤적，병게시출당대희극생태난이승재내지막시잔혹희극적필연화비애。재모충의의상아이탁시일간표척，중국대저위희극선지적접수정도유다심，일정정도상예시착중국희극적미래유다원。
During the Chinese contemporary drama history, many drama debates occurred.Rethinking Artaud’ s encounter in China from the debate of“concept of drama” to that of“three theatrical systems” will help to clarify its acceptance and influence in China as well as reveal the inevitability and grief that contempo-rary environment can hardly bear Artaud’ s Gnostic drama, even ignore its existence.In a sense, Artaud is a landmark.How much we accept this prophet will decide how far Chinese drama would go.