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从打搞专业戏剧创作以来,我虽然也写了几出可以称得上“戏”的戏,但是思想性和艺术性都差得很远,更谈不上什么生命力了。不过,回顾一下自己作品里点点滴滴的成功与许许多多的失败,却使我认识到作品的生命力与作者生活的根基有着血肉的关系。古今中外有生命力的作品,无不来源于作家对他所描写的生活的“烂熟”和“吃透”。正如冈察洛夫所讲的。“在我本人心中没有诞生和没有成熟的东西,我没有看见、没有观察到、没有深切关怀的东西,是我的笔杆接近不了的……我只能写我体验过的东
I have written a few plays that I can call “opera” since my creation of professional drama. However, both ideological and artistic are far behind, not to mention vitality. However, reviewing the bit by bit success and the many failures in my own work reminds me of the flesh-and-blood relationship between the vitality of the work and the foundation of the author’s life. The vitality of ancient and modern Chinese and foreign works, all come from the author of his life described as “overriding” and “edible.” As Gangcharov said. "I did not see or observe anything in my own heart that was not born or matured. I did not observe anything that I did not care deeply about. I could only write about what I had experienced