新时期十年陕西的戏剧创作给我的印象,始终是以现实主义为主流的。现实主义戏剧在执著而又漫长的实践中,日见其精致,日见其成熟;同时,新的生活、新的欣赏要求、新的戏剧观,也从各方面冲击着、渗化着它。这两方面都出现了好作品,都成了气候——只是后者比之前者,还远不能说处于均势。这十年中和十七年一样,作为主流的陕西现实主义戏剧创作,似乎主要是按两个路子实践着的。即戏曲方面马健翎——黄俊耀的路子,和话剧方面万一——黄悌的路子。我们用“路子”这个词,而不用“模式”,如果“模式”容易让人理解为凝固封闭的话。但戏剧创作上这两种习惯性思路的影响是存在的,且相当强烈和深刻。就是说,它已经由艺术手段、艺 In the new period, the impression I made on the dramatic creation in Shaanxi in the past ten years has always been based on realism. Realistic drama in the persistent and long practice, see its exquisite day by day, its maturity; the same time, new life, new appreciation requirements, the new concept of drama, but also from all aspects of impact, infiltrating it. Good works have appeared in both of these areas, and they have become the climate - only the latter can not say that they are far more balanced than the former. In these ten years and seventeen years, as the mainstream drama creation of Shaanxi realism, it seems that it has been practiced mainly on two approaches. That is, Ma Jianling drama - Huang Junyao’s way, and if the drama in case - Huangpi’s path. We use the word “way” instead of “mode,” if “mode” is easily understood as frozen. However, the influence of these two kinds of habitual thinking on drama creation exists and is quite strong and profound. In other words, it has been art by means of art