早在 19 世纪的法国，戏剧和绘画之间就具有密不可分的关系。戏剧不仅为绘画提 供了丰富的题材和内容，更促进了绘画再现方式的革新。随着时间的推移，尽管两者各 自经历了诸多演变，但它们之间的联系依然在历史的长河中留下了彼此相似的印记。纵 观绘画与戏剧的发展史，关于两者之间的研究是较多的，但对于后戏剧剧场视野下的当 代具象绘画研究缺乏细致性研究。笔者认为有必要立足于后戏剧剧场角度下对当代具象 绘画进行探究，从而对当代具象绘画的创作实践发展增加一种可能性。 本文主要有三个部分组成，第一部分是对后戏剧剧场的概念进行阐述，论述后戏剧 剧场与后戏剧剧场时代的关系;第二部分是通过整理后戏剧剧场风格符号中的特征:事 件与情境、并列与非等级性、梦幻画面和共时性等方面进行整理，归纳与当代具象绘画 相关的部分;第三是以尼奥·劳赫为例，以后戏剧剧场风格特征分析其作品中的剧场画 面，探寻后戏剧剧场视野下当代具象绘画发展的可能性。 以后戏剧剧场为切入点，采用文献研究、图像分析等方法进行探究，从而更加全面 系统地了解后戏剧剧场与欧洲当代具象绘画之间的联系。综上所述，本文希望通过钻研 两者之间的关系，试图为当代具象绘画艺术家们的创作实践提供一种可能性。

In 19th century France, drama and painting were inseparably linked. Not only did theater provide rich themes and content for painting, but it also propelled a transformation in the modes of pictorial representation. Over time, despite their individual evolutions, the connection between the two has left similar imprints along the course of history. Although there has been considerable research on the relationship between painting and drama, there is a lack of detailed study on contemporary figurative painting from the perspective of postdramatic theater. I believe it is necessary to explore contemporary figurative painting from the standpoint of postdramatic theater, thereby introducing a new possibility for the development of contemporary figurative painting's creative practice. This paper is composed of three main parts. The first part elucidates the concept of postdramatic theater and discusses the relationship between postdramatic theater and the era of postdramatic theater. The second part organizes and summarizes features from the style symbols of postdramatic theater, such as events and situations, juxtaposition and non-hierarchy, dreamscapes, and simultaneity, and relates these to contemporary figurative painting. The third part takes Neo Rauch as an example, analyzing the theatrical scenes in his works from the characteristics of postdramatic theater style, to explore the possibilities for the development of contemporary figurative painting under the perspective of postdramatic theater. By using postdramatic theater as an entry point and employing methods such as literature review and image analysis, this paper aims to provide a more comprehensive and systematic understanding of the connection between postdramatic theater and contemporary European figurative painting. In summary, through exploring the relationship between these two, this paper hopes to offer a new possibility for the creative practice of contemporary figurative painting artists.