李健吾对于“戏剧性”理论的建构始于上世纪三十年代，初步确立了以“人的内心情感激变”为依据的戏剧本质体认。这种戏剧体认以人为本体，以强调现代人的情感困惑为思维感知方式去追寻作品的内在意义，是对中国话剧“战斗传统”的一种补充，是“人的文学”精神的体现。然而，如果说李健吾的戏剧观念在20世纪30年代初露锋芒的话，那么到了40年代及其以后这种锋芒却并没有进一步发展绚烂而是逐渐地趋于沉寂，主要表现为理论与实践的差距与偏离。究其原因，一方面源自风雨飘摇的外部环境，另一方面则在于李健吾自身戏剧理论建设的不足。%The construction of Li Jianwuˊs " dramatic theory" began in the 1930s,and he preliminary estab-lished the drama essence of awareness which is based on " a personˊs inner emotional conflict" . This understanding is based on humanity and emphasizes the emotional confusion with the modern people in the pursuit of a dramaˊs in-trinsic significance. This concept is a supplement for the Chinese traditional drama and consistent with the spirit of" humanistic literature" . Though we regard the 1930s as the emerging period of Li jianwuˊs drama awareness,in the 1940s,this kind of drama awareness has not as expected developed into its glory stage but inclined to silence due to its distance and deviation in theory and practice. The causes to this can be attributed to the turbulent external envi-ronment as one part,and the defect of Li jianwuˊs own drama theory as another major part.
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