在辉煌的戏曲史上,戏曲文学家们曾有过占据显要地位,推动着戏曲发展的光荣历史。南戏向杂剧的递进、杂剧向传奇的嬗变,无不以适时的戏曲文学的特点和格式为依据,而敷演出各具特色的舞台艺术。即使在“雅”颓“花”扬的近代,日臻典雅凝固的昆剧的衰落,不也是在历史的流程中,以自身的衰竭没落,为日后兴起的表演艺术提供了一个“出将入相”的机会吗?所以,在戏曲艺术刚逃劫难又入危机的死谷,当昔日令万人空巷的诸般大师遭到观众冷遇,当号称“唐三千、宋八百”的传统戏曲文学滞销蒙尘而乏人光顾的今天,新一代的戏曲文学工作者不揣势单力薄地勇敢担起振兴、改革的重任,无疑是时势所赋的英雄本色。 In the glorious history of opera, opera writers once had a glorious history that occupied prominence and promoted the development of opera. The evolution of South Opera to Zaju and the evolution of Zaju to legendary are all based on the characteristics and format of timely opera literature, while performing various theatrical arts. Even in the modern age of “Ya” decadent “flower” Yang, the decline of Kunqu Opera, which is becoming more and more elegant, is not only failed by its own failure during the historical process, but also provided a " Therefore, in the death valley where drama art just escaped into crisis, when all the masters who used to be empty-handed were exposed to spectators’ cold, when the traditional opera literature known as Tang 3000 and Song 800 was poorly populated The patronage of today is lacking. A new generation of opera literature writers are not brave enough to assume the courage to take the lead in rejuvenating and reforming. They are undoubtedly the true nature of the heroics given by the times.