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(一) 1988年,于是之在北京人艺接待两名台湾作家,命我作陪。交谈中间,对方谈到一个现象,即大陆上的,现代文学史上比较活跃的那些作家当中,1949年之后,写作最勤、著述最丰的当属老舍。老舍去世之后,中国的话剧舞台即使到了八十年代末期,仍让人感到某种寂寞……解放后的17年里,老舍先后创作了23部剧本及一批散文,和至少两部长篇小说:《无名高地有了名》和《正红旗下》。其中《正红旗下》没有写完。老舍以写作为生命存在方式。于是之则讲到了另一个现象:解放以后,尤其是1978年以来,中国现代文学史上比较活跃的那批作家里,作品能够不断被改编,不断被搬上舞台与银幕的作家有两位,一位是南边的鲁迅;一位是北边的老舍。截止到1998年,几乎老舍的全部中长篇小说诸如《骆驼祥子》、《离婚》、《四世同堂》、
(I) In 1988, I received two Taiwanese writers in BeiJing Art Department and ordered me to accompany me. During the conversation, the other spoke of a phenomenon that among the writers on the mainland who are relatively active in the history of modern literature, the most diligent and authoritative writer after 1949 is Lao She. Even after the death of Lao She, the stage of China’s drama even came to the late 1980s, leaving people feeling a little lonely. In the 17 years after liberation, Lao She has created 23 plays and a series of essays and at least two novels: “There is a famous nameless” and “Is under the red flag.” Which is “under the red flag” did not finish. Lao She regards writing as the way of existence. Then, another phenomenon is mentioned: after the liberation, especially since 1978, the group of writers who are more active in the history of modern Chinese literature can be continuously adapted. There are two writers who are constantly being brought onto the stage and the screen. Bit is the south of Lu Xun; one is the Laoshe north. As of 1998, almost all of Lao She’s novels such as “Camel / Shoko,” “Divorce,” "Four Generations,