香港與澳門的現代話劇起步類似,真正形成自身特色是從上世紀70年代本土話劇時期開始的。在本土話劇階段,香港以批判式的反思展現了其城市發展的成熟程度,而澳門則側重于人性倫理的人本主義主題。對人的主體性思考延向了兩城話劇的文化尋根階段。港澳話劇在文化尋根中匯流,方式各異,呈現了整體性和個體性感受的結果差異。文化尋根的醞釀和探尋又催生了兩城市民生活題材的新寫實類型,新寫實是文化思考之后的揚棄,是對市民生活的自我定位和分析。70年代港澳本土話劇階段以來,兩城話劇比以往任何時期都要關注人的心靈問題,成為中國話劇重要的分支。

The modern drama of Hong Kong and Macau had their orgins in similar situations, and began to show their own characteristics in the 1970 s: the local drama period. In this period, Hong Kong’s theatre represented critically the sophistication of its urban lives, while Macau’s theatre focused on the humanistic themes of human ethics. The contemplation on human subjectivity then extended to the tracing of the cultural roots of drama in the two cities where the exploration of these cultural roots promoted the new realistic themes of urban life. This new realistic genre reflected choices based on cultural contemplations, and was a kind of self-identification and analysis of urban life. Since the local drama period in the 1970 s, theatre in Hong Kong and Macau has been more concerned with spiritual issues and it has become an important branch of modern Chinese drama.