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当我读完了话剧剧本《海边有个男儿国》时,感到这里面没有尖锐的冲突或巨大的事件,也没有华丽的词藻与深奥的哲理,但她却吸引了我。是什么吸引了我呢?是“男儿国”吸引了我,是他们——今天码头工人的沸腾的生活吸引了我,是那些质朴、粗犷、坦荡的人物吸引了我,是那几乎被遗忘了的简单、朴素的真理吸引了我,深深地激动了我,促使我于1991年春季,刚刚在风光旖旎的南国,给红线女排演了向建党70周年献礼的现代粤剧《白燕迎春》,立即又飞往北国的胶州湾,为青岛市话剧团排演《海边有个男儿国》。
When I read the drama “There is a Boy Country on the Sea,” I felt there were no sharp conflicts or tremendous events, no glorious rhetoric and profound philosophies, but she attracted me. What attracted me to me? It was they who attracted me, they - the boiling life of the dock workers caught me today. Those who were rustic, rugged, magnanimous caught me, and it was almost forgotten. The simple and naive truths caught me and deeply touched me. In the spring of 1991, just as I was in the beautiful south of China, I performed a remake of the modern Cantonese opera “Bai Yan Ying Chun”, a tribute to the 70th anniversary of the founding of the party, Immediately flew to the north of Jiaozhou Bay, rehearsal for the Qingdao Repertory Theater, “there is a man on the beach country.”