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近年來,在中國大陸的輿論界,出現了一片‘搶救話劇’以及‘話劇往何處去’的呼聲。從全國各大話劇團體的統計材料中,人們看到一幅發人深思的圖景,那就是即使是由國家‘包下來’的大劇院,也是入不敷出。這些第一流的劇院的演職員的工資是由國家支付的,他們的生活自然不成問題;但是,由於近年來票房收入不景氣,諸如演出場地困難,新劇目難產或難以成活,為了維持劇院的生存,有的不得不去創作、拍攝電視劇,有的甚至去搞‘第三产業’;一些非國營或半國營的劇院、劇團則改行去搞歌舞、雜技等;更有一些邊遠的省區和城市的少數話劇團,為了票房的收入,出現過令人痛心的現象:黄色低級和恐怖兇險的東西
In recent years, in the media circles in Mainland China, there has been a cry for “rescuing the drama” and “where the drama goes”. From the statistical materials of the major drama groups in the country, people see a thought-provoking picture that even the grand theater, which is “wrapped down” by the state, is unable to make ends meet. However, due to the deteriorating box office receipts in recent years, such as the difficulty of the venue, the new repertoire is difficult to live or hard to survive. In order to maintain the theater’s survival, the paychecks of these first-rate theaters are paid by the state. Some have to go to the creation and filming of television dramas and some even engage in ’tertiary industries.’ Some non-state-owned or semi-state-run theaters and theatrical troupes diverted to singing, dancing, acrobatics and so on. Some even remote provinces and autonomous regions The city’s few repertory troupes, for the box office income, have had a distressing phenomenon: low-level yellow and horrible things