近年来见到话剧界的朋友,许多人都谈到话剧面临危机:在影视艺术的强大竞争下,剧场上座率急剧减少,有的剧目甚至只上演一两场,便告观众阙如;在“一切向钱看”的浪潮冲击下,不仅演出的各种费用上升,加剧了财政的困窘;而且话剧作家、演员也不断流失,话剧工作者的队伍日益缩小。有人惊喊:“话剧濒于消亡!”有人呼吁:“救救话剧!”是的,从话剧移植到中国,于今不到一个世纪,除了“文革”的十年外,话剧的危机感似乎从未有过如此的尖锐! 那么,话剧向何处去?话剧的出路在哪里? 按说,我国话剧尽管历史不长,成绩却不可谓不大。从欧阳予倩等引进起,曾经涌现过郭沫若、田汉、曹禺、老舍、洪深等老一辈的大师;新中国建立后剧作家更新人辈出。新时期以来,话剧从“文革”十年 In recent years, many friends of the drama industry have spoken of the crisis in drama. In the drastic competition of film and television arts, the attendance rate of the theater has dropped sharply. Some of the plays even staged one or two games. Under the impact of the “money-watching” wave, not only does the rising costs of performances increase the financial embarrassment, but also the loss of dramatists and actors and the shrinking of the ranks of the dramatists. Someone shouted: “Drama is on the verge of extinction!” Someone called: “Save the drama!” Yes, from the drama transplanted to China, now less than a century, except for “Cultural Revolution” ten years, drama crisis seems to be from So there is no such sharp! So, where the drama go? Where is the way out of the drama? According to say, although the history of our drama is not long, the result is not small. Since the introduction of Ouyang Yuqian, there have been gurus such as Guo Moruo, Tian Han, Cao Yu, Lao She, Hong Shen and other elders. After the founding of New China, dramatists have been renovated. Since the new period, drama from the “Cultural Revolution” decade