近几年来,我们的戏曲改革工作成绩很大,可是在剧本的语言方面,有些问题好像还注意得不够。特别是在当前党提出文艺工作要面向农村,号召剧团上山下乡演出的时候,这个问题,就更有提出来研究的必要。有些同志,往往在整理改编传统戏曲的时候,有意或无意地追求所谓“典雅”“高深”,使剧词出现半文半俗,疙里疙瘩,格调不一的毛病。有些剧词简直有点“装腔作势,借以吓人”。有的经过整理改编的传统剧本,甚至反而越加艰涩,不如原来的通俗易懂了。我最近看到几个改编过的剧本,其中就有大量的令人费解的词句。像“玉醴金浆”、“不腆”、 In recent years, we have made great achievements in drama reform. However, in the language of the script, some problems seem to be noticed enough. In particular, at a time when the party proposes that literary and art work be directed at rural areas and calls upon the troupe to go to the countryside for performances, this issue is even more necessary for research. Some comrades often pursue the so-called “elegant” and “profound” tactics consciously or unconsciously when arranging and reordering traditional Chinese operas to make the plays appear half-cursed and knotty, with different styles. Some plays are a bit “pretentious and scary.” Some adapted and adapted traditional scripts, even more difficult, as the original easy to understand. Recently, I have seen a few adaptations of the script, among them a lot of puzzling words. Like “Yuliang gold paste”, “no”