戏曲编剧的成长方式多种多样。有自学成材的,有科班出身的,也有经过短期培训的。我自己是半路出家,没有受过专门的训练,加上口才差,做梦都没有想到以后能与戏曲编剧教学沾上边。1999年接到台北现代戏曲文教协会让我去歌仔戏编导培训班授课的邀请,多年编剧的实践经验,预先写出了数万字的讲稿,然后到台北上课一个多月。我正是这样赶鸭子上架,开始涉足戏曲编剧教育这个领域的。2001年10月,福建省文化厅又聘我为首批戏剧导师,让我挑选一位年轻的编剧,指导其创作,任期为二年,在这期间指导学生创作两个剧本。因此,我又有了这么一段戏曲编剧教育 Drama writers grow in a variety of ways. There are self-learning materials, a scientific background, but also after a short period of training. I was halfway exile, have not been specially trained, coupled with poor eloquence, never dreamed of teaching drama editors with James later. In 1999, I received an invitation from the Modern Chinese Opera Culture and Education Association in Taipei to give a lecture on Taiwanese Opera directorial training courses. After years of practical experience in screenwriting, I wrote out speeches in tens of thousands of words before going to Taipei for more than a month. This is exactly why I hurriedly picked up the ducks and began to get involved in the field of drama writers education. In October 2001, the Fujian Provincial Department of Culture hired me again as the first theater instructor. Let me choose a young screenwriter to guide her creation for a term of two years, during which I instruct students to create two scripts. Therefore, I have had such a period drama writer education