自由、疼痛與崇高,是劇作家羅懷臻戲劇創作的三大美學原則,也是研究和賞析其劇作的三個重要維度。他順應時代而不迎合時代,承載主流價值而又尊重個體價值,其"自主化"的選材、"日常化"的情感書寫以及"民間化"的曲詞風格,充分彰顯了其自由的個性與鮮明的民間立場。自我身份認同的撕裂、審視歷史時的悲憫以及生命意識的覺醒所帶來的疼痛,作為"幕后推手"或"隱藏的力量"嵌入個體、歷史與現實的框架之中,成為構筑羅懷臻戲劇藝術世界的一道厚重底色。他以一種探索和擔當的姿態去構建自己明確而完備的戲劇理論體系,從戲曲的現代轉型、戲曲的"都市化"和"再鄉土化"、中國話劇的民族化等方面對中國戲劇的發展進行了兼具理論高度和實踐指導價值的觀照,讓崇高既融入他以悲劇為主要內核的劇作之中,又貫穿于他致力戲劇藝術創作的全過程。

Freedom, pains and sublimity are the three aesthetic principles of Luo Huaizhen’s playwrighting,and the three dimensions for interpretation and appreciation of his works. He writes in accordance with his times rather than conform to reality. His works are laden with the mainstream value and reflect the value of individuality as well. Luo’s free individuality and folk viewpoint are exemplified by the " autonomy" in the choosing of topic, the "everydayness" of the emotional writing and the "folkishness" of the script. In his works are pains from the fission in self-identity, from the pity aroused in reading history and from the awakening of life awareness. Those pains as "implicit motivation" or "hidden energy" are woven into the texture of individual,history and reality, and they become a thick underpainting of his playwrighting. He has constructed a distinct and complete system of dramatic theory with the morale of exploration and responsibility. Luo’s theory shows theoretical profundity and practical value in its treatment of the modernization, urbanization and " reruralization" of traditional Chinese opera, as well as in its exploration of the indigenization of modern Chinese drama and other aspects in the development of Chinese drama. Sublimity fits into Luo ’s tragedy-oriented playwrighting, and permeates the whole course of his artistic creation.