后戲劇劇場與戲劇劇場在中國的話語之爭,實際是20世紀圍繞布萊希特和斯坦尼斯拉夫斯基的"戲劇觀大討論"的遺留問題,作為"后布萊希特"的后戲劇劇場的潛在目的是修正上世紀80年代戲劇"去政治化"的結果并對劇場進行"再政治化"。從《偽君子》和《葉甫蓋尼·奧涅金》的演出接受看,兩種"政治性"才是后戲劇劇場與戲劇劇場的根本矛盾,為應對后結構主義背景下的"本質主義"危機,后者需重建第四堵墻以"再中心化"的"后幻覺主義"戲劇重構世界"真實"。

The dispute between postdramatic theatre and dramatic theatre in China is essentially a problem left over by"the discussion on the view of theatre"between Brecht and Stanislavsky in the last century. The purpose of postdramatic theatre,which is "post-Brecht",is to correct the result of"depoliticization"of theatre in the 1980 s and to "repoliticize"the theatre. Taking the audience’s acceptance of Tartuffe and Eugene Onegin as examples,this paper contends that the two kinds of politicalness bring about the fundamental contradiction between postdramatic theatre and dramatic theatre. In order to deal with the crisis of essentialism in the background of poststructuralism,the latter needs to reconstruct the fourth wall so as to reconstruct the "reality"of the world with the"re-centralization"of"post-illusion"theatre.