讨论“当代戏剧之命运”,说到底,是讨论戏剧在当代中国的生存和发展问题。《中国戏剧》杂志社在新千年之初发起这场讨论,对于推动当代中国的文化建设,无疑是有积极意义的。笔者作为多年从事戏剧研究的行中人,对此不应该袖手旁观,也来谈谈一管之见,以供广大同仁参考。 不可否认,多年以来,在某种思维定势的支配下,人们在讨论这个问题时,最习惯也最容易做到的就是把研究目光投向国营剧团和官办戏剧;相反,对于戏剧的民间存在,往往不是心存疑虑就是关爱有欠。事实可证,戏剧在半 To discuss “the fate of contemporary drama”, after all, is to discuss the issue of the survival and development of drama in contemporary China. It is undoubtedly of positive significance for the “China Theater” magazine to launch this discussion at the beginning of the new millennium in order to promote the cultural construction in contemporary China. As the author of many years engaged in theater research, I should not stand idly by, but also to talk about a tube of opinion, for the majority of my colleagues for reference. Admittedly, over the years, people are most accustomed to and most easily able to focus their attention on the state-run troupes and government-run drama under the control of a certain set of thinking. On the contrary, for the non-governmental existence of drama, Often there is no doubt that love is owed. Facts can be verified, drama in half