戏曲编剧的“水土流失”问题,曾引起一场热烈地讨论。笔者也曾写了一篇《水土流失有感》,(见《戏剧电影报》1984年18期),为写戏周期长,关卡多,政治地位低,权益无保障,叹了一顿苦经。但事后仔细想来,我们戏曲编剧也不应光从客观上找责任,怨天尤人,还应该从主观上查查原因,我们的竞技状态如何?表现功力怎样?有无献身戏曲事业攀登艺术高峰的决心和勇气?不管别人怎么样,戏曲编剧首先要自己看起自己,不应妄自菲薄。翻一下中国文学史和中国戏曲史,一种自豪感油然而生; 君不见短短九十年的元代,却出现了象关汉卿这样可以立于 The dramatist’s “soil and water loss” issue has aroused a lively discussion. I also wrote an article entitled “Soil and Water Loss,” (“Theatrical Movies” 1984, 18), writing for a long period of time, checkpoints, low political status, rights and interests without protection, sigh sad bitter . But think carefully afterwards, we drama writers should not seek responsibility objectively, blaming others, but also from the subjective view of the reasons why our athletic performance? How skill performance? With or without devotion drama career climbing the peak of the determination and Courage? No matter how others like, drama writers must first look at themselves, should not be self-defeating. A brief look at the history of Chinese literature and the history of Chinese opera, a sense of pride spontaneously; do not see a short span of 90 years of the Yuan Dynasty, there has been like Guan Hanqing can stand