有票房的剧目不一定都是好剧目,但好剧目必须要有好的票房价值,孤芳自赏的剧目很难说是大家所需要的剧目。当下的戏剧界,特别是具有人才、资金等资源优势的主流戏剧院团,对票房的轻视、避嫌乃至另眼相看是一种很普遍的现象──新剧目的编演少有把票房作为首要或主要的目标成果追求;各类繁多的戏剧评奖评选没有票房方面的标准衡量;各地对戏剧院(团)的工作评价,一直以来看重的是剧目和演员的获奖数量获奖级别,以及参与上级展演汇演的频率等,票房方面则可有可无不关紧要……然而,古今中外的戏剧实践证明,戏剧票房恰恰对搞活戏剧市场, It is not always true that the repertoire at the box office is a good repertoire, but good repertoire must have a good box office value. It is hard to say that the performable repertoire is a show that everyone needs. The current theater industry, especially the mainstream theater troupe with talent advantages such as talent and capital, is a very common phenomenon at the box office. It is a common phenomenon that the repertoire should not be considered as the primary or the major one The pursuit of the target results; a wide range of theatrical awards do not vote in the box office standard measure; around the theater (group) evaluation of the work, has always been the value of repertoire and actor award winning level, as well as participation in the performance of the higher the frequency of the show And so on, the box office is dispensable is not important ... ... However, both at home and abroad drama practice has proved that drama box office just to enliven the drama market,