有一天,几位朋友在我家里谈起戏改问题,讨论的很热烈。那天在座的朋友都是写戏的人。争论的中心是戏改中“粗暴”与“保守”的问题。今天我就从“粗暴”和“保守”来谈。有一部分意见是那天得到的“结论”,也加入我自己的意见。现在争论最多的就是“粗暴”和“保守”。据我看,懂得一些业务的人,不管是内行或“票友”,都容易保守,他们保守,因他们热爱戏曲,愿意保留戏曲中原有的技术。对於这一点,我们应当注意到。譬如我们以前看过杨小楼的戏,因为杨小楼的表演实在使人喜欢,现在看见别人演,技巧不像那么好,就觉得不过瘾。这就是说,懂戏的人看它稍许改一改就觉得难过。就拿我自己来说,就有点保守,我家里六口人,对于看戏问题如果举手表决的话,我一定失败。我懂得板眼,他们却不懂。我爱这个东四,就难免袒护它,但如果完全 One day, a few friends talked about the issue of dramatization in my house, and the discussion was enthusiastic. The people here were all writers. At the center of the debate is the problem of “crude” and “conservative” in the dramatization. Today I talk about “crude” and “conservative”. Some opinions are the “conclusion” that day gets, and also join my own opinion. Now the most controversial is “crude” and “conservative.” As far as I know, people who know some business, whether they are insiders or “ticket holders,” are easily conservative. They are conservative because they love drama and are willing to retain the original techniques in the opera. We should note this point. For example, we have seen Yang Xiaolu’s drama before, because Yang Xiaolu’s performance really makes people like it. Now when I see someone playing, my skills are not as good as I am feeling. This means that people who know the drama feel sad when they change a little. Take myself as a bit conservative, my family of six people, for the theater issue if the show of hands, I must fail. I know how to look good but they do not understand. I love this Tung Si, it is inevitable to protect it, but if complete