去年七月中旬,我曾经和北京人艺的著名导演夏淳,中央歌剧院副院长刘诗嵘一道应邀赴美国参加奥尼尔戏剧中心剧作家年会。访美十八天,对美国戏剧只是走马看花,匆匆一瞥,不敢妄谈什么。最近到北京参加“戏曲现状与趋势研讨会”(以下简称为戏曲研讨会),听到各位专家就戏曲问题发表的种种高见,忽然勾起我渐已淡忘的回忆来。他山之石,可以攻玉。我觉得,奥尼尔戏剧中心为推动美国戏剧发展所作出的种种努力颇值得我们借鉴。可惜我拙于言辞,不敢在会议上发表意见。恰好《剧本》编辑部又约我写访美感想,就写下这篇杂感,既向《剧本》交卷,又算是为戏曲研讨会放个马后炮。在戏曲研讨会上,大家曾就谁是戏曲的中心展开了热烈的争论。戏曲是综合艺 In mid-July of last year, I was invited to go to the United States to attend the annual meeting of dramatists of the O'Neill Theater Center with Xia Shi, the famous director of Beijing Art Festival, and Liu Shirong, vice president of the Central Opera House. Visiting the United States for eighteen days did not dare to jump in on a glimpse of the American drama. Recently I went to Beijing to attend the Symposium on the Status Quo and Trends of Chinese Opera (hereinafter referred to as the Drama Symposium). Upon hearing the experts' opinions on the drama issue, I suddenly recalled memories that I had forgotten. Stones from other hills, can learn. In my opinion, the efforts of the O'Neill Theater Center to promote the development of American theater deserve our reference. Unfortunately, I clumsy, afraid to comment at the meeting. Just “script” editorial department about me to visit the United States to think about it, wrote this miscellaneous sense, both to the “script” handing over, but also for the drama seminar put a gun. At the drama seminar, everyone had heated debates about who is the center of the drama. Opera is a comprehensive art