王育生:去年夏天我和童道明去南京看完南京市话的小剧场演出后,我们俩搞了一篇关于小剧场的对话。当时,外地的小剧场演出比较活跃,而北京比较沉寂。时隔一年,青艺的小剧场落成,连演了《火神与秋女》《天狼星》等几个戏;实验话剧院也出现了小剧场的戏《女人》,显示了小剧场的生机。近来,话剧还没有摆脱危机,但有两个现象值得重视,一个是社会化演出开始出现,而且日趋活跃。如:北京的《蛙》实验剧团,广州的《搭积木》剧组,上海的《悲悼》演出。再有一个值得重视的戏剧现象就是小剧场演出的勃兴。编辑部认为应该就此谈一下,特意请来了你们二位。兆华导的《绝对信号》是小剧场的发轫 Wang Yusheng: Last summer I and Tong Daoming went to Nanjing to see the Nanjing Opera after a small theater performance, and we both engaged in a dialogue about the small theater. At that time, a small theater in the field performed more active, while Beijing was relatively quiet. A year later, a small theater of Qingyi was completed with several performances of “Vulcan and Autumn Girl” and “Sirius.” In the experimental theater, there was also a drama “Woman” in a small theater showing the life of a small theater . Recently, drama has not got out of the crisis, but two phenomena deserve attention. One is that social performances have begun to emerge and are becoming increasingly active. Such as: Beijing’s “Frog” Experimental Theater, Guangzhou’s “building blocks” crew, Shanghai’s “Mourning” performance. Another dramatic phenomenon that deserves attention is the boom in the performance of small theater. The editorial board thinks that we should talk about this and specially invited you two. Siu-wah guide “absolute signal” is the origin of a small theater