近年来,随着农民生活由温饱型向娛乐型、享受型转变,他们的欣赏情趣也随之有了变化。在这种情势下戏剧怎样以变应变,“适销对路”?这确实是当前一个重要问题,特别需要新戏剧的开拓者们付出艰辛的劳动。党的十一届三中全会以来各级文艺团体相继进行了体制改革,在为农民服务方面做出了可喜的成绩。如专业剧团下乡演出的多了,上演现代戏的比例增加了,反映农民生活的现代戏也越来越被人重视了等等。但在看到这些成绩的同时,也应看到一些不可忽视的现象,这些现象概括的表现有如下几种: 其一,不少剧团仍然不肯上演现代戏。尽管文化主管部门、各级党政领导大会小会反复强调,文件通知接连不断,要求多写多演反映农村改革的新戏,甚至采用增加补助,重奖、罚等办法,但效果仍然不佳。一些剧团只在每年会演,调演时排一两个现代戏,而且总有些嘴愿心不愿的样子。至于平时搞剧目生产和 In recent years, with the peasants’ life changing from subsistence to entertainment and enjoyment, their appreciation taste has also changed. In this situation, how can dramas become “marketable”? This is indeed an important issue at present. In particular, pioneers of new plays need to exert painstaking efforts. Since the Third Plenary Session of the 11th Central Committee of the Communist Party of China, various literary and art groups at all levels have successively carried out structural reforms and made gratifying achievements in serving the peasants. Such as professional troupes go to the countryside to perform more, staged an increase of the proportion of modern drama, modern life reflects the peasant life has also been more and more attention and so on. However, while seeing these achievements, we should also see some phenomena that can not be ignored. The general performance of these phenomena is as follows: First, quite a few troupes are still reluctant to stage modern drama. Although the cultural administrations and the party and government leaders at all levels and sub-conferences repeatedly stressed that there are many other documents notifying them in succession and demanding that they write more new films that reflect the rural reform and even adopt such measures as increasing subsidies, rewards and penalties, the effect is still not good. Some theatrical troupes perform only one or two modern shows per year, and there are always some who are unwilling to say. As usual engage in repertoire production and