四十二年前,一位青年在新中国的感召下,离开了台湾博物馆,也放弃了他所挚爱的高山族艺术的研究,只身回到大陆。这年,他刚届而立之年。八年后,一个初暖的日子,在北京青艺剧场,由中国青年艺术剧院上演了一出颇为轰动的话剧《无名英雄》,在演出的说明单上赫然写着那位青年的名字:段纯麟。他担任该剧的舞台美术设计。在三十四年后的今天,我们已很难再准确地作出判断:当年轰动剧坛的那台戏,究竟是否也得力于段纯麟先生的才气与努力;但在五十年代末,《无名英雄》的舞台设计确确实实有着广泛也深远的影响,它那略含写意性的简捷、概括的舞台处理,在当时过分追求幻觉真实感的戏剧界颇得好评,获得了许多专家的较高赞誉。 Forty-two years ago, under the inspiration of New China, a young man left the Taiwan Museum and abandoned the study of his beloved Alpine art and returned to the Mainland alone. This year, he just stood in the year. Eight years later, on a warm day, at Beijing Youth Theater, a rather sensational drama called “Nameless Heroes” was staged by the China Youth Art Theater. On the performance note, the young man’s name was impressively read: Duan Chun Lin. He served as the stage art design of the show. It is very difficult for us to make any more accurate judgments today after 34 years. Whether or not the drama that hit the theater of that year depended on Mr. Duan Chunlin’s talent and efforts, but in the late fifties, “the nameless hero ”The stage design really has a wide range of far-reaching impact, it is slightly freehand simplicity of the general stage of the stage, at the time excessive pursuit of hallucinatory realism of the theatrical critics won the high praise of many experts .