我想具体谈以下二点想法: 一、从《渴望》剧组中,可以归纳出下面三点体会: 1、《渴望》坚持了一个正确的创作方向。《渴望》没有曲折离奇的故事,没有宏大广阔的背景。它的题材、内容是人们日常生活中经常能够见到的事情,故事的场景又仅仅局限在几个房间和院落内,但为什么能引起如此大的轰动,受到人民群众如此大的厚爱?这是很值得我们深思的。我认为,它首先是坚持了一个正确的现实主义创作方向,面向群众、贴近生活。前几年,现实主义的创作曾一度受到冷落。有人在为艺术而艺术;有人在提倡主体化、内向化,要作家转向自身,自己实现自己;还有人在搞自我与社会的对立,暴露丑恶和落后,描写异化和虚无,甚至拜倒在金 I would like to specifically discuss the following two ideas: First, from the “desire” crew, you can sum up the following three points: 1, “longing” adhere to a correct direction of creation. There is no grandiose background for “craving” no twists and turns of bizarre stories. Its theme and content are what people can often see in daily life. The story scenes are confined to just a few rooms and courtyards. But why can such a big sensation be aroused so much by the people? It is worth our deep consideration. In my opinion, it first of all upholds a correct direction of realistic creation, faces the masses and lives close to each other. A few years ago, the creation of realism once been left out. Some people are in the art for art. Some people advocate subjectivity and introvertedness. They want the writer to turn to himself and he himself; others are engaging in antagonism between self and society, expose ugliness and backwardness, describe alienation and nihility, and even worship in gold