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最近我参加了两个戏剧创作讨论会,看出剧作者们,特别是话剧作者,情绪有些低沉。我接触了两部分剧作者。一部分是五十年代培养起来的剧作者,他们的优秀作品在五十、六十年代曾订过很大影响,粉碎“四人帮”后,有的作者还写出过好的作品。另一部分剧作者是话剧创作的新秀,很年轻,有的刚到中年,他们是带着伤痕投入笔伐“四人帮”的尖兵。这两部分剧作者虽然年龄不同,经历不一样,但都为今天话剧舞台的沉闷感到忧虑。如何使话剧舞台活跃起来,是他们共同关心的问题。我和这些剧作者接触较多,不敢说了解他们,只是他们作品的忠实读者。我和他们的心情一样,也对话剧舞台的现状感到忧虑。不用讳言,近几年来,戏剧——特别是话剧,虽然剧目不少,但观众反应比较冷淡,上座率低。
Recently I attended two theatrical creation seminars, and I saw that the writers, especially the writers of the drama, are somewhat depressed. I contacted two playwrights. Part of the playwrights cultivated in the 1950s, their outstanding works had great influence in the 1950s and the 1960s. After the smashing of the “Gang of Four,” some writers have also written good works. Another part of the playwright is a rookie of drama creation, very young, and some just arrived in middle age. They are pioneers who brought their wounds into the “gang of four”. The two playwrights, though different in age and experience, feel anxious about the dullness of the drama stage today. How to make the stage of the drama come alive is their common concern. I have more contact with these dramatists, I dare not say they know, but loyal readers of their works. Like their feelings, I feel anxious about the status quo of the drama stage. Needless to say, in recent years, drama - especially drama, although a lot of repertoire, but the audience reaction is relatively cool, attendance is low.