近些年,随着戏剧演出市场的逐步壮大,展演、节庆、评奖需求的不断增加,各地艺术机构、演出团体对优秀剧本的渴求度和期望值也呈现出逐年上升的态势。他们一方面四处“求”剧本、“挖”人才,通过各种方式扶植创作、奖励编剧,另一方面也不得不承认“编剧荒”、“剧本荒”正日益威胁着戏剧艺术的良性发展,阻碍戏剧的可持续发展。实际上,“编剧荒”、“剧本荒”非自今日始,早在二十多年前就初露端倪。上世纪80年代,中国剧作家集体崛起,他们用立 In recent years, with the gradual expansion of the theater market, the increasing demand for performances, festivals and judging awards, the thirst and expectations of fine arts organizations and performing groups from all over the world have also shown an upward trend year by year. On the one hand, they are all around “play” script, “dig” talent, through various ways to foster creativity, reward writers, on the other hand also have to admit that “screenwriter shortage”, “script shortage” is increasingly Threatening the healthy development of drama art and hindering the sustainable development of drama. In fact, “screenplay shortage ”, “script shortage ” non-since the beginning of this day, as early as 20 years ago, clues. 80s of last century, the Chinese playwright collective rise, they use legislation