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美国剧作家阿瑟·密勒的《推销员之死》,由北京人艺上演后,引起了首都戏剧界的注意。为此,本刊编辑部于五月二十八日上午邀请首都部分戏剧工作者就《推销员之死》的创作和演出进行了座谈。与会同志对一些问题发表了不尽相同的意见。下面摘要发表这次座谈会上的发言。王贵《推销员之死》通过北京人艺的成功演出被介绍到我国来,很有意义。我从这个戏的演出看到了另外一个天地。虽然《推》剧写于三十多年前,这种样式在欧美也许已经司空见惯,但对我们来说,还是很新颖的。今天,当我国的广大话剧工作者正在探索话剧艺术的创新和发展时,这个戏的演出无疑具有借鉴意义。这是一出极其深沉的大悲剧,作者用那样自然,流畅的笔触描写了一个普普通通的美国人,写得那样
American playwright Arthur Miller’s “Death of a Salesman,” staged by Beijing Renaissance, drew the attention of the capital’s theater industry. To this end, the editorial department of our magazine invited some theatrical workers in the capital to hold a discussion on the creation and performance of the “Death of a Salesman” on the morning of May 28. The participating commanders expressed different opinions on some issues. The following summary published the forum speech. Wang Gui, “The Death of a Salesman” was introduced to our country through the successful performance of Beijing Renaissance, making great sense. I saw another world from the show’s performance. Although the “push” drama was written more than thirty years ago, this style may have become commonplace in Europe and the United States, but still very new to us. Today, when the vast number of theatrical workers in our country are exploring the innovation and development of drama art, the performance of this drama undoubtedly has reference significance. This is an extremely tragic big tragedy, the author uses a natural, smooth brush strokes to describe an ordinary American, write that