导演们经常处于困惑之中。以往我们历来是题材决定一切。对每一部艺术作品来说,讨论的重点,嘉奖的人物、批判的对象,俱是剧作家们。人们知道的是剧作家,看到的是在舞台上发光的明星(演员们),极少有人会提及艺术创作中一个重要的环节——导演。那个时代我们可以数列出那么多的剧作家(包括写出优秀独幕剧的剧作家),数列出那么多的表演艺术家、著名演员,可是谁能数出几个导演艺术家呢? 可喜的是在十一届三中全会的春风吹拂下,导演主体意识觉醒了。80年代初期,人们一觉醒来发现了导演艺术在艺术创作中的重要作用。记得1986年在上海举办的举世瞩目的中国莎士比亚戏剧节中,全部25台演出剧目,均出自一个伟大的剧作家莎士比亚的之手,他是世界上公认的伟大艺术家。对莎翁的剧作,没有任何人会提出异议,没有任何人会争议莎翁剧作的思想、题材问题。然而在戏剧节中人们惊喜地看到了,发现了众多的莎剧演出中导演艺术闪烁出那么灿烂的光辉。看到了那么多台风格迥然不同的演出 Directors are often in perplexity. In the past we have always been the subject of everything. For each piece of art, the focus of discussion, the persona to be awarded, the object of criticism, are the dramatists. What people know is the playwright and the stars (actors) who glow on the stage. Few people will mention one of the major aspects of artistic creation - the director. In that era, we could count on so many dramatists (including writers who wrote excellent one-act shows), count so many performing artists and famous actors, but who could count on a few directors? Under the spring breeze of the Third Plenary Session of the 11th CPC Central Committee, the main body of the director awakened. In the early 1980s, people woke up to discover the important role of directorial art in artistic creation. I remember that in 1986, the world-renowned Chinese Shakespeare Festival held in Shanghai, all 25 performances were from the hands of a great playwright, Shakespeare, who is recognized as a great artist in the world. No one will object to Shakespeare’s play and no one will dispute the thoughts and themes of Shakespearean plays. However, during the festival, people were pleasantly surprised to find out that many of the directorial productions in Shakespeare’s plays shone with such brilliance. I saw so many different styles of performances