近来,据说有一部分戏曲编剧“闲”起来了,一来是他们过去有过“粗暴”行为,对于传统剧目,乱杀乱砍。二来是传统剧目,本来没有缺点,何必再改。而且被认为是“老酒陈醋,越老越好,越陈越香”。在这种空气下,整理改编古人之作,就成为多余的事了;在这种空气下,戏曲编剧也好像成为多余的人了。在中国戏曲史上,也有个奇怪的现象,好像只有元曲昆曲有剧作家,如:关汗卿、王实甫、汤显祖、孔尚伍、李笠翁等大师,至今仍被我们念念不忘。但其他剧种的作家们,他们作品虽还活着,但他们的名字早死了,甚至们们还活着时,名字就早死去了。“梁山伯与祝英台”在国外放映时,很多外国友人讯问这样优秀的剧作的原著者是谁?我们则答不出来。这种不公平的历史,只能说是这些劳动人民创作的戏剧受压抑的后果。 Recently, a number of drama writers are said to have been “idle”, and in the past they had “brutalized” acts that they used to harass traditional hacks. Second, the traditional repertory, there are no shortcomings, why change. And is considered “old wine vinegar, the older the better, the more the more fragrant.” In this air, finishing reorganization of the ancients, it has become superfluous; in this atmosphere, opera writers also seem to be redundant people. In the history of Chinese opera, there is also a strange phenomenon, it seems that only the Kunqu Opera Yuan opera writers, such as: Guan Khanqing, Wang Shih-fu, Tang Xianzu, Kong Shangwu, Li Weng and other masters, are still we never forget. But writers of other operas, whose works are still alive, have their names prematurely dead, and even when they are still alive, their names are premature. When “Liang Shanbo and Zhu Yingtai” are being shown abroad, many foreigners will not be able to answer the question of who is the original of such a good play? This unfair history can only be described as the repressed consequences of the dramas created by these working people.