为了了解一九八三年话剧创作的新剧目的概貌,最近连续读了十几部剧本。本想将读剧本时获得的印象综合起来,对其成败得失进行概括性的分析,但很快就否定了这个念头。因为就全国范围来说,一九八三年创作、上演的剧目为数很多,这十几部只是其中的一小部分,很难通过它们概括一般。所以我想仅就苏叔阳的《家庭大事》、邢益勋的《珍惜》、邹安和的《月色溶溶》等剧本谈谈有关戏剧创作的一些问题,但在整理对这些剧作的印象时,我又联想到另外一些问题。有人说,一九八三年的话剧创作有“脱离现实”的趋向,其根据之一就是反映现实生活的剧目中,那种正面揭示“重大社会问题”的剧目少了。如果这是事实的话,那么,究竟应该怎样看待这个事实?《家庭大事》《珍惜》《月色溶溶》等等,虽然都反映现实生活,但似乎又不是那类正面揭示“重大社会问题”的剧目,但我却认为,它们不仅不是“脱离现实”的,而且可以从中看到现实主义的深化,可以看到剧作家们对现实主义戏剧的“真实性”刻意以求的精神。尽 In order to know more about the new repertoire of drama in 1983, a dozen or so scripts were read recently. I wanted to combine the impression I got when I read the script to make a generalized analysis of its success or failure, but quickly rejected the idea. It is very difficult to generalize through them because the number of plays staged in the country in 1983 was quite large and only a few of them were very small. So I’d like to talk about some of the issues about drama creation only on Su Shuyang’s The Family Events, Xing Yi Xun’s Treasure, Zou An He’s Moonlight Solubility, etc. However, in arranging the impressions of these plays, Also think of other issues. Some people say that one of the reasons for the dramatic creation of 1983 that is “out of touch with reality” is to reflect the real-life repertoire in which there are few repertoires of positive revelations of “major social issues.” If this is true, then what should be considered about this fact? Although “family affairs”, “treasuring” “moonlight dissolving”, etc., all reflect the real life, they do not seem to be the kind of “major social problems” However, I think they are not only “not realistic”, but also can be seen from the realism deepening, we can see the playwright’s realism drama “authenticity” deliberately seeking spirit. Do