中国话剧的十七年,是一段筚路蓝缕、披荆斩棘的岁月。它有过明朗与昂扬,也经历着寒流与多舛。有人曾说,这是中国话剧一段只能“近观”不能“远瞻”的历史。它没有深度可言,你只能凑近它,嗅一嗅那股浓浓的时代味,除此之外,隔着时间的烟尘,它已黯然无光,后时代的人根本不屑于他们的回眸。当然这样过激的评论,我们无法认同。但不可否认的是,十七年话剧中也确实出现了对政治进行庸俗与简单化图解的倾向。公式化、概念化成为十七年话剧创作中一股不和谐的潜流。当代颇有影响的剧作家黎弘这样解释过;“记得有人说过这样的话:‘我们的话剧舞台上只有工、农、兵三种剧本:工人剧本,先进思想和保守思想的斗争;农民剧本,入社和不入社的 Seventeen years of Chinese drama is a time-lapse of years. It has a clear and high-spirited, but also experiencing the cold and more. Someone once said that this is a passage in the history of Chinese drama that can only “look closely” and can not “look forward”. It has no depth at all. You can only approach it, sniff it out and smell the thick flavor of the times. In addition, it has been dull over the smoke and dust of the time, and people of the post-era do not bother to look back at them . Of course, such an exaggerated comment, we can not agree. However, it is undeniable that there has indeed been a tendency in the 17 years of drama that vulgar and simplistic diagrams of politics have been made. Formulation and conceptualization have become an undercurrent of discord in the seventeen-year drama creation. Li Hong, an influential playwright, explained it this way. "I remember someone who said: ’There are only three kinds of scripts of workers, peasants and soldiers in our drama stage: the battle between the workers’ scripts, advanced ideas and conservative thoughts. The Peasants’ Script , Join the club and non-joining