最近,由福建省梨园戏实验剧团演出的新编古代戏《节妇吟》,在福建省内外得到一致好评,荣获福建省第17届戏剧展演剧本、导演一等奖;剧本在福建省首届“水仙花”剧本奖评选中与郑怀兴、周长福等全国知名剧作家的新作并肩媲美,结果名列榜首,独占鳌头。成功的奥秘何在?剧作者王仁杰在总结创作经验时概括出一句话:“传统戏曲与当代意识相结合。”所谓“当代意识”至今还是一个比较模糊的概念。什么忧患意识、忏悔意识、主体意识、自我意识、寻根意识、荒诞意识、孤独感……近几年来的文艺批评中充斥了此类字眼,有人以为这些就是“当代意识”。其实,这些名词有不少来自当代西方哲学和文学批评,不见得都能为我所用。已经进入“后工业文明”的西方思想家文学家的“当代意识”,未必能为处于社会主义初级阶段的当代中国人所接受。不加分析地接受西方人的当代意识既无必要,也不可能。 Recently, Fujian Provincial Liyuan Opera Experimental Theater Troupe performed a new series of ancient women’s play “Festival Woman Yin”, both inside and outside Fujian Province received praise, won the Fujian Provincial 17th drama show director, director of the first prize; script in Fujian Province, the first “Narcissus Flower ”screenplay award selection and Zheng Huaixing, Zhou Changfu and other well-known national playwright’s new work side by side, the results topped the list, come out on top. Where is the mystery of success? Wang Renjie summarized the creative experience summed up the sentence: “traditional drama and contemporary awareness.” The so-called “contemporary consciousness” is still a rather vague concept. What sense of crisis, remorse, subjective consciousness, self-awareness, root-seeking awareness, absurd consciousness, loneliness ... In recent years, literary and art criticism is full of such words, some people think that these are “contemporary consciousness.” In fact, many of these nouns come from contemporary Western philosophy and literary criticism, but they are not always available to me. The “contemporary consciousness” of Western thinkers who have entered the “post-industrial civilization” may not be accepted by contemporary Chinese in the primary stage of socialism. It is neither necessary nor possible to accept the contemporary awareness of Westerners without analyzing them.