目前,关于戏剧观念问题的讨论正在逐步深化。参加讨论的同志大都抱着共同的目的:探究障碍我国戏剧艺术健康发展的原因,寻求振兴戏剧艺术的出路。因此它就绝非“南派”与“北派”,“海派”与“京派”之争,而是一场全国性的学术讨论。最近,我连续读到陈恭敏同志发表在《戏剧报》1985年第十期和《戏剧艺术》同年第三期上的两篇文章,标题都是《当代戏剧观念的新变化》(以下简称《新变化》),内容也大同小异。读过这两篇文章,对近几年在戏剧界出现的一种“新观念”有了全面的印象,也从中受到不少启发。但是,我对文中提出的种种观点,却持有不同 At present, the discussion on the concept of drama is gradually deepening. Most of the comrades participating in the discussion hold the common goal of exploring the reasons that impede the healthy development of drama in China and seeking ways to rejuvenate drama. Therefore, it is by no means a dispute between “Southern School” and “Northern School,” “Shanghai School,” and “Beijing School.” Instead, it is a nationwide academic discussion. Recently, I read successively two articles published by Comrade Chen Gongmin in the 10th issue of The Drama Newspaper in 1985 and the third issue of The Drama Art in the title of “New Changes in the Concept of Contemporary Drama” (hereinafter referred to as “the new Change ”), the content is more or less the same. Having read these two articles, I have been greatly inspired by the overall impression of a “new concept” that has emerged in the theater industry in recent years. However, I have different opinions on the various points raised in the paper