在话剧艺术创新的浪潮中,不少同志把手伸向姊妹艺术,于是,歌舞、雕塑、体操……纷纷涌向话剧舞台。这里有冲出写实主义、幻觉主义樊篱,另辟写意蹊径的追求,也有探索不同程度、不同形式的假定性,俾使演出面貌更趋多样化的尝试。这都是无可厚非的,也确实出现了一些令人瞩目的成功演出;但在另一些演出中,却透露出一种忽视话剧特性的倾向。这种倾向不利于扭转话剧观众萎缩的趋势。在剧场门口曾经听到这样的议论:“这戏算个啥?要听唱歌,不如歌星唱得好,要看舞蹈,不如舞蹈演员跳得好,……一块钱白扔了!”望着稀稀落落散去 In the tide of drama art innovation, many comrades have put their hands on sister art. As a result, song and dance, sculpture and gymnastics have flocked to the drama stage. Here are out of realism, illusionist barriers, another way of writing the pursuit of freelance, but also to explore different degrees, different forms of assumptions, so as to make the appearance of a more diverse attempt. It is understandable that there have indeed been some spectacular successes; yet in others, there has been a tendency to overlook the characteristics of drama. This tendency is not conducive to reverse the shrinking drama audience. In the front of the theater had heard such an argument: "What a play this thing? To listen to the song, not as good as the singer sing, depends on the dance, as dancers jump well, ... ... a dollar white threw! Sparse scattered