写剧本是艰苦的创造性劳动,不经一番跋涉之苦,无数辗转反侧、通宵达旦之夜,难有所获。一改再改,废稿盈尺计,乃是家常便饭。当然,戏剧界也有这么一些比较轻松的“作者”。一杯清茶一支烟,海阔天空,侃侃而谈。一会一个“点子”,一会一个“主意”,有时甚至以“指示”代“点子”。然后由他人去写,本子出来以后,他则是当然的“领衔者”。如此创作,竟可同时与数人“合作”,毫无“呕心沥血”之苦,却坐收“剧作家”之利。自从有了稿费和演出报酬以后,此类挂名者有日见增多的趋势。不过,要当“挂名剧作家”也并非易事。基本条件是手握一些实权,名下带个“长”字,至少也是个 Write the script is a painstaking creative work, without the pain of a long journey, countless tossing and turning round, overnight up to date, difficult to obtain. Change and then change, scrapped earnings meter, but it is commonplace. Of course, the theater industry also has some relatively easy “writers.” A cup of tea a cigarette, brighter, talkative. One idea at a time, one idea at a time, and sometimes “ideas” on behalf of “ideas.” And then to write by others, the book came out, he is of course the “leader.” So creative, actually at the same time with several “cooperation”, there is no “painstaking efforts” of the pain, but take the “playwright” Lee. Since the payment of royalties and performances, there has been an increasing tendency for such names. However, it is not easy to be a “famous playwright.” The basic condition is to hold some real power, with a “long” name, at least one