20世纪川剧可以看作现代性进程链条中地方戏曲的一个精彩个案。90年间它的文化性质经历了从古典到现代再到后现代的转变。这个转变始终紧紧围绕“文学性”这条线索进行。从告别了文学的古典川剧到拥抱新文学的当代川剧再到作为消费社会文学文本的川剧性艺术形态，文学性的有无与内在形态的变化始终是推动20世纪川剧变革的潜在动因。以黑格尔的戏剧理论来审视，元杂剧是作为抒情诗的戏剧，明清传奇是抒情诗与史诗并存的戏剧，这两者都是文学本质的戏。中国戏曲到了古典地方戏阶段，弱化了情节，脱离了文学本质，成为表演本质的戏，以演员的肉身表演来征服观众。古典川剧作为古典地方戏中的重要代表，与京剧相比，其情节更加粗糙，距离文学更为遥远，其对剧场性的追求是通过大量的“听头”、“看头”的舞台审美资源来实现的。可笑性因素也是古典川剧的重要剧场资源，同时也削弱了文学的可能性。时代的变迁催生了文学的当代川剧的产生。作为当代戏剧文学的重要代表，当代川剧参与了当代文学史、当代思想史的建构，并与它们保持着内在的一致性。当代川剧是形态成熟的“现代戏曲”，是以情节的完整性为其首要艺术原则的戏剧，话语的启蒙特质以及形式上的现代艺术手法让它成为现代性话语下的精英艺术样态。消费社会条件下，当代川剧的宏大叙事丧失了其有效性，古典川剧自娱自乐的民间根性契合了消费者公民社会的精神特质，其美学基因播撒到各种新兴的艺术样式之中，这些川剧性艺术以崭新的方式构成了消费社会的“文学文本”，在跨越了文学与非文学的界限的视野中可以看到某种非“纯”文学、“纯”川剧的艺术文本正在以某种粗野的方式四处蔓延。将川剧作为一个活的生命体来把握是本文进行研究的路径。第一章采用了现象学的方法，从对象本身入手，以东方美学的基本概念为逻辑基础，对古典川剧的“味儿”进行深度体验。第二章以黑格尔的戏剧理论为理论基点，以欧洲传统戏剧、元杂剧、明清传奇作为参照对象，分析古典川剧的本质特征。第三章从时代、环境、萌芽形态三方面分析了当代川剧产生的条件以及古典川剧实现涅槃的可能性。第四章分析了当代川剧标出自身的三个途径：由边缘向中心靠拢，由谐剧向文学的戏剧体诗靠拢，程式语言向文学语言靠拢。第五章廓清作为纯文学意义上的九十年代当代川剧与八十年代当代川剧的差异。第六章从文化研究的立场出发，将后现代的几种艺术形态视为具有川剧审美特质的消费社会文学文本，通过对这些新文本形态的解读，来透视消费社会复杂的文化地形图。

20th century Sichuan opera and drama can be looked as a representative case of local opera in the process of modernity. During 90 years, its culture character experienced 3 phrases: classical, modern, postmodern. All the changes revolved a core: literariness.From the classical Sichuan opera breaking away from literature to contemporary Sichuan drama as a literary form and to art series as literary text in a consumer society. The change of literariness is always the underlying driving force for 20th sichuan opera and drama. How to change and the meaning of the change is a inquire of the paper. In Hegel’s drama theory’s perspective, Yuan drama is a lyric drama, Ming and Qing fiction is a lyric and epic drama. They are both literature. However, classical local opera is a perform opera without literature. Compared with Beijing opera, Sichuan opera ‘s plot is more coarse.It’s pursuit of theatricality is realized by adding a lot of stage resourses such as changing face.At the same time, the dissertation questioned the laugh in the classic Sichuan opera.New historic condition promoting the apperance of contemporary Sichuan drama. It’s a mature modern drama, the plot’s completion is its first art principle.It’s a elite art form in modernity course.In consumer society, contemporary Sichuan opera has lost its validity. Classic Sichuan opera’s art gene is disseminating into other art forms, which are brand new literary text in consumer society.The way of research in the dissertation is to clarify Sichuan opera and drama in a dynamic course.The first chapter using phenomenon philosoph method, on the logic base of chinese tradition aesthetics have a deep experience of classical Sichuan opera’s wei(taste). The second chapter ,based on the Hegel’s drama theory, in a comparison with European tradition drama, Yuan zaju and Mingqing fiction, analyses the essence of classical Sichuan opera. The third chapter analyses the emerging condition of contemperary Sichuan drama. The fourth chapter analyses the three ways of outstanding itself : from margin to centre, from classical opera to modern drama, from classical arena pattern to literary language. The fifth chapter make a difference between 90’s Sichuan drama and 80’s Sichuan drama in a pure literature field of vision. The sixth chapter , in the culture study’s point of view regards several postmodern art forms as the literary textual form in a consumer society and interprets the puzzled roadmap of consumer society through explaining these brand new textual forms.