《剧本》600期。作为剧作家的家园,逾半个世纪风云幻化的岁月,留下了太多又太少的作品。记得“文革”刚结束,一部只有短短十几页的独幕剧《我为什么死了》(编剧:谢民),突破现实主义僵硬的躯壳,以死者现身说法近乎荒诞的手法,向人们诉说在那不由分说地将一切都卷入政治领域的动乱时代,一个纯真女性忽而沦为罪犯、忽而变成英雄的荒唐经历。普通人不明白的是,用假造的罪犯保全真正的罪犯,以英雄的伪造装扮伪造的英雄,其实只不过是长袖善舞者在政治赌博中上下其手的惯 “Script” 600 issues. As the home of the playwright, over half a century has turned into an illusion of years, leaving too much and too little work. I remember when the “Cultural Revolution” was over, a one-act play “Why I Died” (screenwriter: Xie Min) of only a dozen or so pages broke through the rigid body of realism and told the people about the near-absurdity of the deceased's appearance In an age of turmoil, which invariably involved everything in the political arena, an innocent woman suddenly became a criminal and suddenly turned into a heroic absurd experience. Common people do not understand is that the use of fake criminals to save the true criminals, fake heroes to counterfeit heroes, in fact, is just a long sleeve of good dancers in the political gambling up and down the habit