我們的革命文艺传統,有一条叫做集体創作。一九四二年“延安文艺座談会”以后,在解放区曾經有十分广泛的群众文艺活动,秧歌、腰鼓、秧歌剧、道情……搞得紅火热闹,遍地开花。那个时候,許多剧本就是集体創作出来的。有的是共同討論出来的,有的是一人写出初稿,大家共同研究修改的,有的干脆就是集体的口头創作:“大家围坐在一个炕上,你一言,我一語,边想故事,边編唱詞。至于說白,只說个大意,讓演員自己去临时編。好在你是編剧的,你同时就是演員,这样一个剧不到五天就編成了广。……演了几次,詞大致定下来,由人紀录起来,就成了定本。”(张庚:《新歌剧論文集》秧歌剧三序) 像当时那样的群众性的文化大普及,戏剧大开展,沒有这种集体創作的方法,剧本的供应是很难想像的。当时魯迅艺术学院的师生也編队下乡,一面向群众学 One of our revolutionary literary traditions is collective writing. After the “Yanan Literature and Art Symposium” in 1922, there were quite a large number of mass literary activities in the Liberated Areas. The Yangko, drums, Yangko, and Taoist repertoires ... flourished and flourished everywhere. At that time, many plays were created collectively. Some of them are discussed together, some of them write the first draft, we study and revise together, and some simply make a collective oral creation: “Everyone sitting on a kang, you say a word, I think the story, while editing Lyrics. As for the white, said only to the effect, let the actors themselves to the temporary series. Fortunately, you are a screenwriter, you are also actors, such a drama was compiled in less than five days. Generally set down, recorded by the people, it becomes a fixed. ”(Zhang Geng:“ New Opera Collection ”Yangko Opera sequence) As was popular mass culture, the drama carried out, there is no such collective Creative methods, the supply of the script is hard to imagine. At that time, teachers and students of the Lu Xun Art Institute also formed a team to go to the countryside to study for the masses