今天我想讲两个问题。第一个问题是一些同志提出的戏曲的三个时代:剧作家的时代;演员的时代;导演的时代。认为现在已到了导演的时代了。我说说对这个问题的看法。第二个问题是说说戏曲理论和创作实践的的关系。先说说“导演时代”的问题。我们戏曲现在所面临的情况,我觉得从某些方面看很象欧洲戏剧19世纪末20世纪初所面临的情况。19世纪末,欧洲舞台上也盛行明星制。明星制产生许多缺点,如一个戏就以一个明星为中心,一切舞台上的艺术手段都为明星服务。这对于综合艺术的戏剧的发展起了阻碍作用,因为其中的各艺术部门不能充分发 Today I want to talk about two issues. The first issue is the three eras of the dramas proposed by some comrades: the age of the playwright; the age of the actors; the age of the director. I think it has now reached the director’s time. I will talk about the views on this issue. The second question is to talk about the relationship between drama theory and creative practice. First talk about the “director’s time” problem. What we now face in our opera is, in some ways, very much the situation that European drama faced in the late nineteenth and early twentieth centuries. The 19th century, the European arena star system. Star system has many shortcomings, such as a drama on a star as the center, all the art of the stage are for the star service. This hindered the development of the drama of integrated arts because the various art departments therein could not adequately develop