苏联戏剧创作和演出的思想内容根本不同于我国在十月革命前的戏剧。我们的社会主义革命彷彿成了我们剧作家的“合撰者”越降摹⒊绺叩乃枷牒皖掖蟮娜挝癯涫盗宋颐堑纳詈臀颐堑木瘛S捎谡媸档胤从沉宋颐侨嗣竦纳?苏联作家的剧本就具有了为资产阶级戏剧作品所望尘莫及的深度和广度。我们剧作题材的新颖、复杂与广阔,都绝不是资产阶级戏剧的旧形式所能容纳得下的。我们生活中的丰富内容要求剧作家和剧院以恰当的形式来表现它。只有把剧作家、导演和演员在思想上和技巧上都好好地重新装备起来以后,才能保证戏剧新形式的探寻得到成功。产生新的戏剧形式和手法的困难,不但不会使导演和演员离开舞台技巧的钻研,相反地,正是由於他们的钻研才发生了这些困难。在要求遵守编剧规程的藉口之下,往往掩饰着剧场不善于用新的方法来理解剧本,不善于在舞台上正确地处理苏联青年剧作家的剧本等情形。一个苏维埃剧本只要其中具有崇高的思想,有一群活生生的苏维埃人,那么即使这个剧本有些个别的缺点使我们引以为憾,即使这个剧本离开编剧“规程” The ideological content of Soviet theater creation and performance is fundamentally different from that of our country before the October revolution. Our socialist revolution seems to have become the “composer” of our dramatists. The more you fall, the more you fall. The more you fall, the more you fall. The more you fall, the more you fall. Since the Song Dynasty, the Chinese writers’ scripts play a profound and breadth-proof role for the bourgeois drama productions. The novel, complex and expansive themes of our drama are by no means brimmed with the old forms of bourgeois drama. The rich content of our life requires that dramatists and theaters express it in the proper form. Only after the playwright, the director and the actor have been well-equipped ideologically and skillfully, can successful exploration of new forms of theater be guaranteed. The difficulty of generating new forms and techniques of theater not only leaves the director and the performer behind stage work, but it is precisely because of their study that these difficulties arose. Under the pretext of obeying the screenwriter’s rules, it often covers up the situation that the theater is not good at using new methods to understand the script and is not good at correctly handling the plays of Soviet youth dramatists on the stage. A Soviet script, with its lofty ideology and a group of living Soviets, is even deplorable even though some of the shortcomings of this play deplore the fact that even if the play leaves the script,