戏曲1949年以后走的弯路,总的来说,就是忘了戏曲的根本,也就是脱离了戏曲的本体。上世纪50年代后我们一切学苏联,也就是斯坦尼斯拉夫斯基那套东西。80年代后又一切学西方,话剧加唱成了主流,所谓改革就是这么搞的。后来戏曲又变成了导演为中心,戏曲编剧和演员在创作中被边缘化。弄一个戏慢慢变成了成本几百万、几千万,现在大家已经感觉到它的负面作用了。现在编剧和导演的关系比较紧张,戏曲编剧经不起导演的逻辑分析。 After the drama detours after 1949, in general, is to forget the basic opera, that is, from the noumenal drama. After the 1950s we learned everything from the Soviet Union, that is, Stanislavski. After the 1980s, everything was learned in the West and the play became the mainstream of the drama. The so-called reform was done in this way. Later, the opera became the director again, and the drama writers and actors were marginalized in the creation. Get a drama slowly into a cost of millions, tens of millions, and now we have felt the negative effect of it. Now the relationship between screenwriter and director more nervous, drama screenwriter can not afford the logical analysis of the director.