如何解决民众的“认同危机”，构成了当时一些先进中国人不断求索的重大问题。
In essence, this crisis can be described as a crisis of identity for which some enlightened intellectuals began to look for solutions from 1910s.
这种抉择又是先进的中国人把握西洋话剧审美特质和功能的必然结果。
Such a choice was also the inevitable result of the Chinese mastery of the aesthetic features and functions of Western drama.
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