借助布尔迪厄的文学场理论，围绕新文化运动时期戏剧观念与实践，从而避免了单一视野对事实的遮蔽，尽可能对历史现场加以阅读。通过梳理新文化运动前后的戏剧争论与现实的互动，有助于厘清出于新文化运动时期戏剧次场的生成逻辑院基于政治理想的斗争与占位，其中涉及对经济资本的反抗。旧戏与文明新戏对经济资本的臣服已然不适应戏剧次场所被要求承担的社会责任，由此戏剧争论与现代话剧的生成展示出别样色彩，其根源来自于紧张的社会场关系以及对戏剧社会功能的共识。

This article draws on Bourdieu's theory of field of literary production and discusses the concept and practice of drama during the New Culture Movement, so as to read the historical scene comprehensively and avoid the ignorance of facts due to limited vision. By combing through the interaction between drama debates and reality before and after the New Culture Movement, this article can help understand the interpretation logic of the secondary field of drama production during the period: struggling and occupying positions in the field based on political ideals, which involves resistance against economic capital. The surrender of the old drama and the civilized new drama to economic capital is no longer suitable for the social responsibility that the secondary field of drama production is required to shoulder. Therefore, the drama dispute and the generation of modern drama show a different feature, which stems from the tense relationship in the social field and the consensus on the social function of drama.