王仁杰,当代中国戏曲界成功的编剧之一,王评章先生称他为“福建剧坛最优雅的古典诗人”“福建最后一个古典戏曲诗人”。王仁杰用一管毛笔写下了《节妇吟》《董生与李氏》等诸多好剧,创造了一个个真实、细腻的人物形象,不论人物大小,皆充满了人性的思辨,闪烁着耀眼的光辉。因为有了王仁杰,古老的梨园戏变得青春勃发,而能驾驭这样古老的剧种,创作出不改味道的新编剧目,则更彰显了王仁杰的成功。对新一代的戏曲编剧或者大专院校戏文系的学生们来说,王仁杰无疑是一个丰碑、榜样、偶像。如何向榜样看齐,向丰碑迈进?看看王仁杰的编剧人生,可以总结出几 Wang Renjie, one of the successful screenwriters in contemporary Chinese opera circles, said Mr. Wang Tiezhang was “the most elegant classical poet in Fujian” and “the last classical poet in Fujian”. Wang Renjie used a brush of calligraphy to write down many good plays such as “Women in the Festival,” “Dongsheng and Lee,” and created a true and exquisite character image full of human speculation and twinkling shining eyes. Glorious. Because of Wang Renjie, the ancient pear orchard drama has become youthful, and can control such an ancient drama, creating a repertoire of new repertoires, it even shows Wang Renjie’s success. Wang Renjie is undoubtedly a monument, an example, an idol for a new generation of drama writers or students of the Department of Drama of the tertiary institutions. How to align with the example, to the monument to take a look at Wang Renjie’s screenwriter life, you can sum up a few