人们已经习惯以“文革十年”做对照来衡量文艺界的是非、成就。当然,结论是一致的,即成绩是主流。话剧舞台十年来究竟如何?仁者见仁、智者见智,但有一点,似乎亦无多大争议,即较长时间处于低潮,或日出现了危机。近一、两年,亦有复苏之说,但就全局讲,总体看,还是低潮,这是无法否认的。十年来,(特别是1980年后)从演出实践到理论探索,出现了不少有志之士的各种尝试,其成绩有目共睹,使剧坛出现了活跃。当前,表演艺术团体又处在改革大潮的潮头,也可能为剧运带来新的生机。但长期习惯了的东西,要改变确有难度,这亦是事实。目前忧心忡忡者,仍不在少数。 People have become accustomed to using the “10 years of the Cultural Revolution” as a measure of contrasting the literary and art circles with each other and with achievements. Of course, the conclusion is the same, that is, performance is the mainstream. What exactly is the stage of the drama in the past ten years? The benevolent people see the benevolence and the wise seems different opinions. However, it seems that there is not much controversy over the longer period of time, or the crisis has emerged on that day. In the past one or two years, there have also been some signs of recovery. However, it is undeniable that the overall situation is still at a low ebb. In the past ten years (especially after 1980), from the performance practice to the theoretical exploration, various attempts have been made by people with lofty ideals. Their achievements are obvious to all and the theater has become active. At present, performing arts groups are at the forefront of the tide of reform and may also bring new vitality to the show. However, it is also a fact that what has long been accustomed to changing is indeed difficult. Currently worried, who are still not a minority.