愛美的戲劇運動是中國現代戲劇在批判「文明戲」的基礎上，引進西方戲劇的理論和舞台實務，在戲劇舞台上進行的革新。愛美劇運是中國現代戲劇由草創期走向大盛期的過渡產物。 愛美劇運也是知識份子普遍參與的運動。它主張採用完整的劇本、建立導演和排演制度，以及強調集體效果。維持一貫的反映現實的寫實主義風格等。 愛美劇運本來是由業餘、非營利的基礎上發展起來的。後來因屬要求品質及照顧到從業者的現實利益，又走回商業化、職業化的道路。 愛美劇運出現在一九二一年至一九三〇年之間。替中國現代戲劇的大盛期打下了厚實基礎，也培養了一批劇作家、導演。

The "Ai-Mei" Movement is an innovation of the modern Chinese theatre by introducing western drama's theories and stage experience to criticize "Wen-Ming-Si" and result in a revolution on stage performance. It is an intermediary product as modern Chinese theatre moved from the primary stage to the blossoming time. It is also a movement in which the intellectuals actively participate. It asserts the adoption of a complete script, establishing director and hrehersal system, stressing the coordinated effect, and maintaining a realistic style to reflect the realities. Originated from an amatuer and non-profit basis, the Ai-mei Theatre Movement became professionalized and commercilized in the 1ater development for quality control and material benefits of the performers. The Ai-mei theatre Movement appeared in the periond from 1921 to 1930, laying a firm foundation for the blossoming of the modern Chinese drama, and fostering a number of playwrights and directors.

文明戲、愛美劇、愛美劇運、寫實主義戲劇、洪深

Wen-ming-si, Ai-meiplays, the Ai-mei Theater Movement, realistic drama