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作为中国传统文化的戏剧属大众文化,根在民间,要求做到雅俗共赏。要接地气,生活化,观众才买账。作为编剧,既要有登大雅之堂的雄心,又要有进民间草台的情怀。就拿上世纪九十年代笔者创作的古装小戏《还账》来说,写的是一位县令对一个抛弃生母,不尽赡养义务的忤逆子的教育过程。该剧取材于一则民间故事《还肉》,剧中人县令是大丑,五斤是小丑,以“丑”审丑,当堂断案,用一场闹剧来表现和揭示庄重严肃的母爱主题,劝善惩恶,激浊扬清。1995年1月5日,礼
As a traditional Chinese culture drama is a mass culture, rooted in the private sector, requires the best of both taste and elegance. To ground gas, life, the audience buy it. As a screenwriter, we must not only have the ambition of having a decent, but also have the feelings of going to the grassroots. Taking the ancient costume play created by the author in the 1990s as the principle of “paying off”, I wrote an educational process of county magistrate against a son who gave up his mother and did not provide any support obligations. The play is based on a folk tale “Rebirth”, where the dramatist’s magistrate is a dagger, five pounds is a clown, “ugliness” is an ugliness, when the case is broken, a farce is used to express and reveal solemnity Mother’s theme, to persuade good and punish evil, turbid and clear. January 5, 1995, ceremony